1912 Pottery Porcelain A Guide To Collectors PDF

THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
GIFT OF
Mrs. Harry Lenart

POTTERY AND PORCELAIN
CHELSEA PORRINGER
FROM THE COLLECTION OF
MR. J WARD USHER FROM A WATER
COLOUR DRAWING BY THE OWNER
POTTERY ^ PORCELAIN
A GUIDE TO COLLECTORS
BY
FREDERICK LITCHFIELD
AUTHOR OF "ILLUSTRATED HISTORY OF FURNITURE"
"HOW TO COLLECT OLD FURNITURE"
ETC. ETC. ETC.
CONTAINING NEARLY TWO HUNDRED ILLUSTRATIONS OF

SPECIMENS OF VARIOUS FACTORIES, NINE COLOURED
PLATES, AND MARKS AND MONOGRAMS OF
ALL THE IMPORTANT MAKERS
NEW EDITION, REVISED AND CONSIDERABLY AUGMENTED
LONDON
TRUSLOVE © HANSON, LTD.
1912
BV THE SAME AUTHOR
ILLUSTRATED HLSTORY OF
FURNITURE
HOW TO SELECT OLD

FURNITURE
EDITOR OF
CHAFFERS' MARKS AND

MONOGRAMS ON POTTERY
AND PORCELAIN
&c. &c.
Printed by BALLANTYNIi, HANSON &• Co.
At the B.illantyne Press, Edinburgh

Sri
ill
PREFACE TO THE THIRD EDITION
N preparing Pottery and Porcelain for a

new edition, I have endeavoured to
make such improvements as will afford
additional help to the inexperienced
collector. ,
The chapter on " Hints and Cau-

tions," which has gained approval in
many quarters, is enlarged, and should now be more

effective in safesfuardinor the reader against errors and dis-
appointments. A new chapter on " Values and Prices " has
been added, with information which should be of some in-
terest and service.

Several of the notices on ceramic factories have been
rewritten, and many new ones added, together with marks
and fresh information. The list of Sevres decorators has
been rendered more complete by the addition of some sixty-
five names and signs, while the other soft-paste factories
have received more attention than in previous editions.
The notices of the Staffordshire potters will be found to
give better descriptions of individual work, and a list of
marked specimens will assist identification.
The illustrations have been reconsidered ; unsatisfactory

ones replaced, and several fresh ones, including three new
coloured plates, added.
In giving additional information as to the peculiarities
and characteristics of different kinds of porcelain, I have,
1891905
vi PREFACE TO THE THIRD EDITION
when possible, made references to public collections where
specimens of indisputable genuineness may be inspected.
Full recoo^nition is given in the text to those authors
whose works I have laid under contribution ; it is therefore
unnecessary to allude to them in the preface.
My sincere thanks are due to numerous correspondents

who have sent me interesting particulars of specimens in
their collections, and I take this opportunity of reminding
my readers that I am always glad to receive any such in-
formation to be available for future editions.
In presenting this edition to the public I may perhaps

be allowed a brief retrospect. The work in quite different
form was published in 1878 as my first literary effort; it
appeared as a small hand-book dealing only with European

porcelain and Italian majolica and was received by both
;
press and public with considerable appreciation, possibly

more than it deserved, and ran through several editions.
In 1892 I published Illustrated History of Ftirniiure,
which was immediately successful, and is now in its si.xth
edition, and at the publishers' suggestion my small Pottery,

remodelled so as to form a companion volume to Fnrnittire,
was issued in 1900. A second edition was published in
1905, and although for a work of this kind an unusually
large number of copies was printed, this is now exhausted,
and a third edition, in enlarged form, is called for.
Conscious of many shortcomings, I can at least assure

my readers of the sincerity of my desire to place at their
service the knowledge acquired during a lifelong experience.
FREDERICK LITCHFIELD.
32 St. James's Street,

London, S.W.
—— — — —
CONTENTS
CHAPTER I
ANCIENT POTTERY
PAGE
A —
resume of the History of Pottery from the EarHest Times Egyptian,
Greek, Roman, Italo-Greek, Persian, Samian, and British Archaic
Pottery
CHAPTER II
MEDIEVAL AND RENAISSANCE

Hispano-Moresco Lustred Ware —
Malaga, Granada, Valencia Delia —
Robbia Enamelled Earthenware Italian Majolica : Pesaro, Faenza,
Gubbio —
Maestro Giorgio Andreoli — —
Urbino Castel Durante
—
Naples, &c. &c. Trench Pottery : Bernard Palissy Henri Deux or
Saint Porchaire German Stoneware : Greybeards and Bellarmines,
Gres de Flandres Staffordshire Pottery: Elers Ware Fulham —
— — —
Stoneware Elizabethan Jugs Place's Ware Toft's Ware Delft —
Ware
CHAPTER III
PORCELAIN, ITS INTRODUCTION INTO EUROPE

AND GENERAL ADOPTION
The Eighteenth Century — Difference between Pottery and Porcelain
Hard and Soft Paste — Three different Kinds of Soft Paste described
— Chinese Porcelain — First European Porcelain — Florence, Venice,
Saxony —Bottger's Hard Paste —
Josiah Wedgwood, John Sadler,
—
Richard Chaffers, Cookworthy of Plymouth The Chelsea and Bow
Factories, and other Continental and English Porcelain-makers of
the Eighteenth Century
viii CONTENTS
CHAPTER IV
MODERN
rAGE
A Review of, and Comparison between Past and Present Ceramics — Notes
on the Brussels 1910 Exhibition 37
CHAPTER V
HINTS AND CAUTIONS TO COLLECTORS
Forming a Collection — Public Collections in Museums — Auctions — Guaran-
teed Invoices— Standard of Excellence — Common Errors — Spurious
Lowestoft — Detecting Restorations — Old Sevres and Imitations
its
— Redecorated China — Repairing Breakages — Washing and Packing

Old China 52
CHAPTER VI
SOME COUNTERFEIT AND MISLEADING MARKS

Notes and descriptions of various Misleading Marks, and general remarks on
the Value of the Marks on China —
References to Recent Litigation . 69
CHAPTER VII
A SHORT ACCOUNT OF THE DIFFERENT CERAMIC FACTORIES

AND FABRIQUES IN ALPHABETICAL ORDER
WITH THEIR DISTINGUISHING M.\RKS AND MONOGRAMS
Abruzzi Ware — Adams — Alcora — Amstel — Angouleme — Anspach — Ar-

dennes — Arnheim — Baden — Baranufka — Bassano — Bayreuth —
Belleek — Berlin — Boissette— Bordeaux — Bourg Reine — Bow —
la
Bristol — Cambrian — Capo Monte — and upwards of three hundred
di
notices and references, concluding with Zurich and Zweibriicken . 79
CHAPTER VIII
NOTES AND EXPLANATIONS

A Glossary of Terms used by Dealers and Collectors, with their meanings,
including the description of the "knock-out" system at auctions . 460
—
CONTENTS ix
CHAPTER IX
ON VALUES AND PRICES
I'AGE
Relation of Price to Value — Comparisons with twenty-five years ago — On
the advantage of buying simple and good specimens in preference to
—
more pretentious ones Remarks on the Prices and Values of
"Chinese Porcelain," English Pottery, "English Porcelain" The —
Trapnell Bristol Collection — Notes on Examples of the different
Factories sold at recent sales — Continental Porcelain — Majolica
Rhodian, Persian, and Damascus Ware — Palissy Ware . . . 474
BIBLIOGRAPHY
Works of Reference on English Pottery and Porcelain — Oriental Porcelain
— General, including English, Foreign, and Continental . . . 4S6
LIST OF ILLUSTRATIONS
Chelsea Porringer {coloured plate) Frontispiece
CHAPTER I
Italo-Greek \âse .....

Specimens of Ancient British Pottery
6
7,8
CHAPTER II
Hispano-Moresco Vase facing 10
The Alhambra Vase ........

Sicilo-Arabian Vase, Thirteenth to Fourteenth Century
Tazza of Sgraffiato, or Incised Ware, Fifteenth Century

12
13
14
Specimen of Bella Robbia Ware . 15
GuBBio Plaque, St. Sebastian 16
ly
Palissy Ware Dish
Saint Porchaire Salt-cellar
.....
One of M. Giorgio's Signatures .
facing 20
22
Teapot of Elers Ware .....

Elizabethan Stoneware Jug, date mark 1600
German Stoneware, Sixteenth Century

23
24
25
Dish of Toft Ware

Cup of Mr. Place's Ware
.....
Bellarmine of Fulham Stoneware
....
25
26
27
Design of Ornament on Pottery by Palissy 28
CHAPTER III
Knife-handle of Menecy Porcelain . 36

Xll LIST OF ILLUSTRATIONS
CHAPTER IV
PAGE
Specimen Vase of Modern Worcester Porcelain facing 38
MiNTONS Copy of Sevres Vase 42
MiNTONS Copy of Sevres Vaisseau a Mat • 43
Specimens of Doulton's Lambeth Ware 44
Specimen of Belleek, Ice-pail • 45
A Crown Derby Cup, Cover, and Saucer
CHAPTER V
Sauce-boat of Bow Porcelain 68
CHAPTER VI
Figure of a Cat, Early Slip Decorated Ware. 78
CHAPTER VII
Plaque of Alcora Faience ........

........ 81
EcuELLE of Apt Faience
......
......
Cup and Saucer of Arras Porcelain
86
88
Specimen of Belleek
Milk-pot of Berlin Porcelain
Soup Tureen of Bow Porcelain
....... • • 93
95
loi
Bow Teapot with two Spouts . . . . . . .101
A Set of Three Groups of Old Bow China . . facing 102
Bristol Delft Plate (Edkins) io8
Bristol Delft Election Plate 108
Bristol Delft Plate 109
Small Mug of Bristol Pottery . . . . . . .110
Tureen, Cover, and Stand of Bristol Porcelain . . .no
The Teapot of the Burke Service 112
Bristol Mug with Champion's Portrait. Pair of Bristol
Figures facing 113
A Pair of Pots and Covers, Buen Retiro Porcelain facing 116
Capo di Monte Group of the Peep-show . . . . .120
Specimens of Caughlev . . . . . . . . .124
Teapot of Chantilly Porcelain
Group of Small Chelsea Flacons .... facing
127
129
LIST OF ILLUSTRATIONS XI 11
PAGE
Chelsea Figures ok Apollo and Muses following 129
Chelsea Figure of Britannia facing i-,o
Pair of Chelsea Groups (Seasons) Modelled by

roubillac facing 132
A Chelsea Vase, one of Lord Burton's Set of Sev EN
of Seven .......
Three Chelsea Vases, part of Lord Burton's Set
facing 134
)j ))
Chelsea "Bee" Milk-jug

)>
Chinese Celadon Crackle Vase

.....
J)
....
>» »j following 34
'34
137
........
Fine Specimen of Old "Powder Blue" Chinese Por
ce:lain
Chinese Enamelled Porcelain Dish, familk rose
143
144
Blue and White Set of Ginger Jar and Pair oi
Beakers
Chinese Porcelain Vase
Specimens of Old GRks de Flandres
.... .
facing
facing
facing
146
1
158
48
Cannette of Siegburg Stoneware folloiving '5S

Cabaret of Copenhagen China 161
Chelsea-Derby Vase {coloured plate) facing 171
Chelsea-Derby garniture of Vases and Ewers following 171
Cup, Cover, and Saucer of Crown Derby
Old Crown Derby Dwarfs ....
Early Dresden Vase, " Augustus Rex " Period
.
facing
'72
173
179
Dresden Figures (Acier's Modelling) . 180
Dresden Harlequin
Dresden Tankard
.....
Pot-pourri Vase, Old Dresden Porcelain
......
. iSi
'S3
1S4
Portion of Dresden Service, Horoldt Period facing i8s
Dresden Vase, Blue Encrusted Flowers . 186
Milk-pot of Dresden Porcelain . 187
Frankenthal Vase, Venetian Vase, Neapolitan Ewer facing 200
Pair OF Fulda Figures of Peasants . facing 202
Fulham Stoneware Bust of Prince Rupert 203
The West Malling Elizabethan Jug . 204
Specimens of Old Fui.ham Stoneware . facing 204
Fulham Stoneware Jug
....
.......
Vase of The Hague China
205
212
Harburg Jug 214

XIV LIST OF ILLUSTRATIONS
The Essex Jug .......

Small Marked Teapot of Belle Vue Pottery .
PAGE
216
221
Round Dish of Old Japan Porcelain . 225
Wine Bottle of Lambeth Faience 231
Leeds Ware Dish .......

Specimens of Doulton's Lambeth Ware
239
Bowl of Liverpool Delft

Liverpool Bowl, "
.....
Limbach Porcelain Set of Figures, the Seasons
Success to the African Trade "

facing 242
246
Pair of Longton Hall Vases

Longton Hall Vase
....
...... facing
247
250
Set of Five Longton Hall Vases facing 252

Lowestoft Porcelain Specimens, with Initials and
Dates
Lowestoft Teapot
.... ...
....... facing 25S
258
Lowestoft Coffee-pot ......

Three Lowestoft Teapots {coloured p/aie) facing
•
259
259
Specimens
Lowestoft
of
.......
Porcelain
Coffee-pot of Lowestoft Service

generally ascribed to
facing 260
260
Lowestoft Flask 261
GuBBio Plate, by M. Giorgio, cin. 1520 26S
Castelli Majolica Vase
Caffaggiolo Pitcher ......
....
Caffaggiolo Plate, circ. 1515-20
facing 269
269
270
Majolica (Urbino) Vase {coloured p/ate)
Caffaggiolo Plate {coloured plate)
Ewer of Mason's Ironstone China
.... facing
facing
271
275
280
Hochst (Mayence) Group and Pair of Ludwigsburg
Figures
Milk-pot of M^ne^y Porcelain
Barber's Dish of Moustiers Faience
.....
facing 282
284
291
A Toby "Fillpot" .......

Nantgarw Porcelain, Specimens of Service
.....
facing 294
29.5
Vase of Nevers Faience

Ewer of Nevers Faience
Nottingham Ware Posset-pot
.....
....
297
297
302
Cream-jug of De la Courtille Porcelain
Can of Rue Thirou Porcelain .... . 309
311
LIST OF ILLUSTRATIONS XV
FACE
Specimen Plate, marked Lefeuvre, Paris . 312
Ewer of Persian Porcelain

Persian Flask (coloured plate)
.....
Narghili-stand of Persian Porcelain
....
.
facih
316
316
316
Persian Wall Tile Decoration in Relief, Seventeenth
Century 318
Pinxton Ice-pail 319
Sweetmeat-stand of Plymouth Porcelain . 321
Rhodian Faience Ewer (coloured plate)
Rhodian Faience Plates ..... . facing
following
326
326
Rockingham Flower-pot
Shoe of Rouen Faience .....
Helmet-shaped Ewer of Rouen Faience
327
329
Jardini&re of Rouen Faience

Salt-cellar of St. Cloud Porcelain
.... 330
331
Saint Porchaire Candlestick

Three Unusual Pieces of Salt-glaze
.... .
334
337
Coloured Salt-glaze Sauce-boat .... {coloured plate) facing 342

343
Fine Salt-glaze Dish
Three Salt-glaze Teapots
Jardiniere of Sceaux Faience
.....
.... facing
344
344
SivRES Vase, Green Ground .... 345

348
SisvRES biscuit
........
Specimens of the Empress Catherine Service of Old
SfevRES
Group of Children
349
350
Specimens of Sevres Dessert Service in Windsor Castle 351
Lyre-form Clock of Sevres China 352
Si;vRES Porcelain Vase (coloured plate) . facing 354
Copeland, late Spode, Two Specimens 383
"The Launch," Specimen of Copeland's Parian 384
Specimen Plate of Copeland China 385
Staffordshire Pottery Group, Parson and Clerk 387
Staffordshire Pottery, Bust of Wesley 391
Basket-form Dish of Strasbourg Faience
Swansea Coffee-Can
....
......
Fountain of Strasbourg Faience
.
394
394
397
Specimens of Swansea Ware and Porcelain facing 397
Specimens of Swansea Porcelain (Ordinary Domestic
Ware) 399
XVI LIST OF ILLUSTRATIONS
EcuELLE OF Venetian Porcelain ....

Cup of Wedgwood's Blue and White Jasper Ware
I'AGE
412
422
Lamp of Black Wedgwood (Basaltes Ware)
Copy OF THE Portland or Barberini Vase .
424
Wedgwood Vase of Blue and Whiie Jasper Ware
Wedgwood Blue and White Jasper Ware Vase . 426
Portrait Bust of Josiah Wedgwood
Coffee-pot of Whieldon
Teapot of Agate Ware
....
......
Ware
.
429
431
431
Whieldon Ware, A Pair of Birds, Brown and Green
Glaze 432
Important Specimen of Wincanton Pottery 434
........
Portrait of Dr. Wall, Founder of the Worcester
Factory
Very Early Blue and White Worcester Cup .
435
435
Specimens of China Tokens used about 1763 436
Old Worcester Coffee-pot, Blue Salmon Scale
Ground, and Figure Subjects 436
Worcester Vase of Hexagonal Form, Yellow Ground
part Transfer, part P.\inted Decoration .
438
Specimen of Copper Plate used at Worcester .
439
440
Centre Vase of Hexagonal Form with Birds, and
Pair of Vases with Figure Subjects (Worcester) facing 440
Four Worcester Plates, Various Patterns facing 444
Barr Period ........

Specimens of Worcester of the Barr, Flight and
Specimen of Worcester, Chamberlains Period .

•
•
445
447
Specimens of Worcester of Various Decorations • 45°
.......
Vase of Worcester Porcelain, Late Period, with
Arms of Nelson
Set of Three Important \Vorcester Vases, painted
facing 450
BY O'Neale
Posset-pot of Wrotham Ware
Design on the Back of a
.....
Plate ^L•\I)E for H.M.
facing
•
454
45^)
Queen Victoria,
lain Company
Italo-Greek Vase
........
by the Royal Worcester Porce-
459
473
A Pi.v.MOUTH Sai.t-cei.i.ar in the Trai'nell Collection 485
1^

CHAPTER I
<lncicnt pottcrj>
V Jî^^-0~~l TV—t-Cil
2 ANCIENT POTTERY
early as the fourth dynasty. With a chemicalknowledge rendering
possible the production of glass, there would be no difficulty in
adapting a vitreous glaze to ceramic productions, though doubtless
a series of experiments would be required to alter the paste to admit
of some incorporation of the glaze and prevent its scaling. It is
well known that the knowledge of metallic oxides was in the

possession of Eastern nations centuries before its importation into
Europe, and Dr. Drury Fortnum mentions the early use of copper
by the Assyrians and Babylonians for the production of a beautiful
turquoise blue. This art was especially adapted to the decorative
bricks of terra-cotta, which were also enriched by geometrical
designs, and in some cases by such subjects as representations of
the chase. The most recent date for these has been fixed at
522 B.C., when Babylon was destroyed by Darius. In some of the
old tombs of Mesopotamia have been found curious shoe-shaped
coffins of terra-cotta covered with a vitreous saline glaze and
containing glass beads showing a moderately accurate knowledge
of vitrifaction and the use of silex (a property of sand which forms
the flinty element of glass). These coffins, and the glass beads
they contain, are mentioned by M. |acquemart. Dr. Birch, and
Dr. Drury Fortnum.
In the earliest attempts at decoration, a white surface was an
important matter, and to obtain this a light pipeclay was milled
with water, and, when the piece was sufficiently fired to be fixed,
this thin clayish coating, known as " slip," was applied the design
;
was then scratched through, showing the ornament on the coarse

buff ground, the whole piece being then re-fired. This process
was the earliest form of decoration, and many specimens are to
be found in our museums.
It is a singular fact that, notwithstanding the centuries that
have passed since the time of the old Egyptian potter, if we com-
pare the potter's wheel of the present day with the representations
preserved to us in the old tombs of Thebes, there is but little differ-
ence — a revolving disk of wood turned by the foot, and enabling
the potter to " throw " a round plate, saucer, or vase.
The introduction of stanniferous or tin enamel was a much
later invention, though it has been asserted that in the early
manipulation of metallic oxides, this was used as a pigment in
colouring, but not as an enamel, the invention of which will be
noted much later. In a rapid sketch like the present, it is
unnecessary to dwell long on each epoch of Ceramic Art. The
reader will find in our niuêums specimens carefully arranged and
ANCIENT POTTERY 3
labelled, and if he takes an intelligent interest in the subject he

will soon find his taste almost unconsciously developing, and
these splendid national institutions, with their educational
libraries, be to him what they were intended by a wise
will
—
Government to be "the picture-book of the art student." If he
have the time and inclination to elaborate his knowledge, works
such as those of Brongniart, Marryat, Jacquemart, Chaffers, Drury
Fortnum, and Llewellyn Jewitt will not be consulted in vain.
Greek Pottery. —
Passing on, then, from the earliest known
specimens, we should follow the story of Ceramic Art, and find
how the contact between the Phoenician merchants and the ancient
Greeks, brought about an importation from Egypt into Greece of
such art as existed ; and how
under the influence of the many
this,
peculiar characteristicsof the Greek people,was turned aside,altered,
and improved into a quite distinct school. Art in Egypt has been
well said to be " the expression of religious sentiment, and repre-
sentation of revered symbols." In its earlier stages it had be-
longed to the genus which has been termed sensualistic, that is,
a type of art having for its ideal the reproduction of nature,
and not the embodiment of thought. Its development in this
direction was prevented by the peculiar tenets of Egyptian re-

ligion, and the utter subjection of art to canon law.
Now, with the Greeks, we find this great difference : instead of
being held down and fettered by religion, their art, in the hands of a
poetical and imaginative people, may be said to some extent to
have governed their religion. A well-told, though perhaps very
old, story of the origin of the Corinthian capital, given by Jacque-
mart, is apposite enough to justify quotation. " Callimachus
wandering in the country, dreaming of numerous conceptions,
was struck with the appearance of a child's grave, on which the
mother had placed a basket of fruit, but had laid a tile on the
orifice of the basket, to prevent the birds devouring the collation
prepared for the beloved Manes. An acanthus had sprung up
there,and its flexible stalks, arrested in their ascent by the rough
tile,had bent spirally. Nothing more was necessary the tile ;
became the abacus of the capital, the leaves of the acanthus

enveloped its base with a notched crown, and the most elegant
among the orders of Greek architecture was found."
The ordinarily accepted derivation of ceramic from its Greek
root was for the Greeks too prosaic, and another source was
suggested by attributing to the potter's art a divine or heroic origin
— Ceramus, son of Bacchus and Ariadne, being credited with its
4 ANCIENT POTTERY
invention.^ This is mentioned merely to show how far sentiment
governed the growth of the ideal in Greek art, and not with the
idea of claiming even a groundwork of truth for the fable. Like
art in every other country, it was imported in a certain form, and
gradually improved, and was certainly not the sudden invention of
any single genius.
The paste used in the vases, especially those made for domestic
use, and called amphor;c, was of a very coarse, common de-
scription, and they are only entitled to rank as works of art by
their purity of form. These amphorae were used for the storage
of wine and grain those for the former purpose were made with
;
pointed bases, so that they could only stand by being inserted

some inches in the earth, and were in this manner placed in the
cellars some of these vessels were six feet high.
;
The second, and higher class of pottery of ancient Greece,

was that composed of vases Olympian
suitable for prizes at the
Games, wedding and other presents. The paste was of better
for
quality, and considerable pains are manifest in its finish and
decoration. There were only three colours used brick-red, black, —
—
and the natural colour of the paste buff. The black colour was
laid on as a glaze, and with a very fine lustrous effect it is said to —
have been composed from oxide of iron and when both inside and ;
outside of a vessel were so coated, the paste had every appearance

of being black throughout. Sir Charles Robinson seems to have
been much struck by the beauty of these vases. He says "The :
forms or contours of the pieces display such admirable combination

of beauty and fitness, that it is difficult to resist the conclusion
that they were the result of an inherent art instinct in the pro-
ducer, guided and controlled by abstract geometrical laws of the
profoundest nature and yet it is difficult to believe that any such
;
abstruse scientific knowledge could have guided the artisans who

produced them " {Catalogue of the S/iaiidon Collection).
The only explanation that offers itself is, that these people had
an inherent art instinct, and despising servile copies of natural
objects, sought beauty in the combination and modification of
patterns so lavishly supplied by nature. The custom of preserving
such vases in the tombs has been the means of handing down to
us a considerable number, and so much light has been thiown
upon their dates by arch;eologists, that they can be with moderate
certainty assigned to different epochs, from 700 B.C. to 150 B.C.,
the most modern being thus some two thousand years old
' Ceramic, from KipantKOt, of or for potlcry, from K^pa/xoi, pollers' carlli or clay.
ANCIENT POTTERY 5
Minute descriptions of specimens would be superfluous ;

many
may be seen simply for the trouble of a visit to the British
Museum, where the vases of this kind are classified into different
periods of the fictile art, with dates a catalogue of them is
;
obtainable of the attendant.

To Greek ceramics belong also those amphoraj made in the
islands of the Archipelago, and there are some cases of these
specimens in the Victoria and Albert Museum, the collection having
been considerably augumentcd by Dr. Schliemann's excavations.
Their chief peculiarity is the coarse, buff-coloured paste, which
bears some signs of decoration by means of lines scratched
through the surface, the glaze being so incorporated with the
body as to leave only a slight surface polish. Probably this
tended to harden and make the vessel more durable.
The shattered condition of many Greek vases is accounted for
by the custom of placing them on the funeral pyre before removal
to the tomb, and in some cases the ornament is almost charred
away.
The best period of Ceramic Art among the Greeks was a little
after the time of Pericles, when their civilisation was at its zenith.
The drawing was infinitely more refined, gods and heroes being
no longer represented as angular beings with exaggerated muscles,
but, as nearly as possible, by the perfection of human forms.
In the decline of Greek art which followed, artists appear to
have indulged in fancy, without being guided by those governing
principles necessary for its proper restraint, and from the latter
end of the fourth century, a great falling off in the artistic quality
of their productions appears to have taken place.
Roman Pottery. — Roman simplicity in the earlier ages gave little
encouragement to decorative art, and it was only after the Second

Punic War, when the Romans were thrown into close contact
with the Greeks, that more attention was paid to the arts intro-
duced from Greece. Prisoners taken in battle who were artists,
were set at liberty and much honoured and as, with their methods,
;
the mythology of their country also became naturalised, there

is a great similarity in the Greek and Roman specimens preserved
to us.
The dates of Etruscan pottery can only be approximately esti-
mated. The black moulded ware is said to have been made between
the eighth and the third centuries B.C., while the vases with imita-
tions ofGreek paintings are ascribed to a long period, extending
from the sixth to the second century B.C. There is an excellent
ANCIENT POTTERY
collection of these vases in the British Miiseinn, also in the Louvre,
the Vatican, and the museums of Naples, Florence, and Bologna.
The term " Etruscan " used to
be applied to the art products of

this transition stage, especially to
the blackand red ware, the manu-
facture of which the Romans
learned from the Greeks, but this
term has been abandoned for the
more correct one of Gra3CO-Roman
or Italo-Greek. The ov\\y fabrique
that, according to Jacquemart, is
strictly entitled to be termed Etrus-
can is that founded in 655 B.C. by
Demaratus, father of Tarquin the
Elder, a celebrated Greek potter,
who fled to Tarquinii, then a
flourishing town of Etruria, and
who was followed by many of the
principal potters from the father-
land.
Samian Pottery. —There are in
Museum, and also in
the British
Ilalo-Greek (Etruscan) Vase in the
many other museums, numerous
British Museum.
specimens of a red lustrous ware,
chiefly fragments of bowls and dishes for domestic use, some-
times plain, but frequently ornamented with designs in low relief.
This is called Samian ware, probably because it is supposed to
have been first made at the Greek island of Samos but it is, by ;
general consensus of expert opinion, the domestic ware made for

table use by the Roman potter wherever he happened to find
clays suited to his purpose. Specimens are attributed to Germany,
Gaul, Italy, and Spain. A great many vessels of this ware have
also been discovered during excavations in different parts of
England, where there were settlements during the occupation of
the Romans. Mr. Chaffers affirms that no remains of kilns have
been discovered in England he is therefore of opinion that such
;
ware was brought from Italy, and the reader is referred to

his pages for much information aiiout this particular kind of
pottery. It is apparently always made of the same material, a
sealing-wax red clay with a brilliant glaze, although from being

buried in the earth this has in many cases decomposed. As it
ANCIENT POTTERY '
would have been impossible to obtain in tiie different parts of

the Roman Empire always the same clay, it has been suggested
that a peculiar red paste was invariably mixed with the clay to
colour it.
Ancient Bnlisli Pottery. —Apart from the Samian Pottery, which

was probably imported into Britain, there were established during
the Roman occupation several native potteries. The best known
of these, Upchurch, on the banks of the Medway, and Castor, in
Northamptonshire, are fully dealt with by Chaffers, who gives de-
scriptions of some of the specimens which have been found. The
Upchurch ware was generally black, on account of its being baked
Specimens of Ancient liriiish I'oltcry in the Northampton Museum.

Front a Photo-^ra^h kindly siipfilU-d hy Mr. T. J. George, F.G.S., the Cutator.
in the smoke of vegetable substances, while the Castor pottery is
of a yellow body, ornamented by rough designs of human figures,

and scrolls, scratched into the surface by skewer-like
fishes, foliage,
instruments of varying sharpness and thickness.
Many of the vases or urns made at these ancient British
potteries were thick, clumsy, and very imperfectly fired. They
were probably baked by being placed on the funeral pyre while
the body of the dead person was being consumed. They were
evidently not sun-dried, or their long period of burial in the earth
would have softened them into their original clay. Drinking cups
were of more delicate composition. A considerable improvement
in the process of manufacture evidently took place subsequent to
the Roman invasion the lathe was used, and ornament, introduced
;
8 ANCIENT POTTERY
by means of the " slip " process, became more common. In tlie
earlier periods, the vessels, chiefly cinerary urns,had been formed

entirely by hand, and considerable skill was required to build up
the thin walls of the larger vases or urns in a number of examples
;
these are so neatly rounded as to give them the appearance at

first sight of having been turned by a wheel. This, however, was
not the case with the pottery of what are termed the three great
prehistoric periods.
Specimens of Ancient British Pottery in the Northampton Museum.

From a Photograph kindly sufpUed by Mr. T. J. George, F.G.S., the Curator.
In this brief sketch, the transition of Ceramic Art is apparent

— from Egypt as its cradle, to Greece as itsnursery, and to Rome,
the scene of its after-growth and struggle. There, lost for a time
amidst the chaos of revolution, it appears again, but as it were
from a fresh source, some notice of which will be found in the
following chapter.
Again taking Egypt as a starting-point, we find that the Jews,
after their long sojourn in the land of their advanced taskmasters,
carried away some of the arts of civilisation which they had
learned and though with a nomadic people fragile vessels would
;
be in but little request save for use, still the knowledge of manu-
facture of articles of clay, and some methods of decorating them,
would have been acquired. The strict Mosaic Law, however,
forbidding the making of any graven image, was the raison d'etre
of a new school of decoration — Religion here, as in all ages, leaving
itsstamp deeply impressed upon Art.
Though the Jews were not artistic potters, they may be said
for this reason to have founded the school of floral and "eo-
ANCIENT POTTERY 9
metrical decoration to the exclusion of any animal representation ;
and as their successors, the Arabs,were subject under Islamism

to a similar law, upon the Hebrew foundation was raised the
edilice of Arabian art. The conquest of the Moors spread over
the north of Africa, Spain, and Sicily, and there are abundant
traces of brilliant tile decoration, to which they were so partial,
ornamenting their famous mosques, and penetrating wherever the
ramifications of trade carried the art products made for other than
their own use. Whether the Arabs taught the Persians, whose
country they invaded A.D. 651—652, the art of decorating pottery,
or whether, as Major Murdoch Smith suggests, they were them-
selves the pupils of the vanquished, must of course remain doubt-
ful. In the consideration of this question the specimens of
Persian and Hispano-Moresco pottery, forming part of the valuable
collection bequeathed in 1878 by Mr. Henderson to the British
Museum, should be carefully studied and compared, the arrange-
ment of the collection in the room set apart for its reception being
very favourable for an instructive inspection.
For Major Smith's theory there is much to be said, and he
points out that whereas the followers of Mohammed were rude
Bedouins, the Persians at that time had acquired considerable
culture. On the other hand, there are but few, if any, specimens
the dates of which are anterior to the Arab conquest, and Major
Smith only accounts for this by the statement that every artistic
object of less durable materials than metal or stone, was destroyed
by the conquerors.
Apart altogether from the rise of art in Egypt, and its chver-
gence in two streams, the one to Greece, and the other through
the e.xodus of the Israelites into Arabia, there is a ceramic art
of great antiquity in China, remarkable for the high state of pro-
gress which it appears to have attained with none but native help.
Its secrets were kept so well, that until a comparatively recent
date, scarcely anything was known to the outside world of its

history.
The object of this chapter being, however, to show the con-
necting art links between the different countries mentioned, a
notice of Chinese ancient pottery may be more properly classed
with the alphabetically-arranged notices of different manufactories.
CHAPTER II
Q^cDiaetial anD dcnaisfsfance
HETHER the manufacture of an enamelled

earthenware with a stanniferous glaze was
an art native in Italy, or whether it was
imported from Spain and the Balearic Isles,
has been a matter of contention between
writers on the subject. Twenty years ago
the author adopted Marryat's view that it
was imported, and the name which was
given to the ware, " Majolica," seemed to
lend colour to the theory of its being derived from the island of
Majorca. In the year 1115 the Pisans are said to have besieged
and captured Majorca, and to have taken with them the captive
king and a rich booty, which included some of the pottery made
in the ibland by the old Moorish potters. However, Ur. Drury
Fortnum, perhaps the best authority upon the subject of Majolica
and similar wares, has carefully examined the fragments of the
disks which were said to have been placed by the victorious Pisans
in their churches, and has arrived at the conclusion that these
are of native Italian work, and show no signs of Moorish origin.
Then we have Passeri's statement that pottery works existed
in the neighbourhood of Pesaro from a very early period, that
during the dark ages the art was neglected, and revived in the
early part of the fourteenth century.
It would seem, therefore, that while the name of the ware
probably came from Majorca, the manufacture of ornamental

earthenware was indigenous in Italy.
If, however, we cannot accord to the Moorish potters the
credit of introducing their art into Italy, we cannot deny to them
the merit of those beautiful productions which we now term
Hispano-Moresco pottery. Little was known of this kind of
HISPANO-MORESCO VASE.
Victoria and Albeit Museum.
—
MEDI/EVAL AND RENAISSANCE ii
pottery as a distinct class until Baron J.

C. Daviliier wrote his
Histoire des Faiences Hispano-Moresques a ReJIds Mctalliques, Paris,
1 86 1. manufacture dates from the eighth century, the date of
Its
the Mosque of Cordova, but of this early period there are scarcely
any examples extant, save in Museums and Mosques. The orna-
mental wall-tiles of the Mosque of Cordova are good specimens
of Hispano-Moresco work. Of the later productions of the de-
scendants of the first Moorish potters, we have many excellent
representations, made from the twelfth to the seventeenth century.
These are mostly deep, round, buff-coloured dishes, decorated
with pale or dark copper-coloured lustre, sometimes with inter-
lacing ornaments, sometimes with blue colour introduced, some-
times with a coat of arms, but more generally with a text from
the Koran.
One of the finest examples of this class is a two-handled vase
in the Pottery Gallery of the Victoria and Albert Museum (No.
8968). It is labelled as the production of Malaga, and was pur-
chased by our Government from the Soulages Collection. We

give an illustration of this beautiful vase, but the specimen itself
should be carefully studied, as no illustration can do justice to its
merits.
The process that produced the effect known as lustred, madrc-
pcrla, reflet melalUque, and under other synonymous terms, is thus
described by Dr. Fortnum :
" Certain metallic salts were reduced in the reverberatory fur-

nace, leaving a thin film upon the surface, which gives a beautiful
and rich effect."
The early Moorish potters have not only left the impres-
sion of their Art upon Spanish Ceramics, with the result in
the shape of Hispano-Moresco ware, which we have just been
discussing but excavations in the island of Sicily have brought
;
to light fragments of plain and lustred pottery of an earlier

date.
Dr. Drury Fortnum ascribes the origin of this pottery to the
time of the Saracenic occupation of Sicily of some fifty years,
from A.D. 832 to 878, and he has suggested a special title, that of
Sicilo- Arabian, for the ware made in Sicily which he traces to this
Arabic influence.
The paste is of a dull white colour, somewhat over-
fired, the glaze thick and found in " tears " or " blobs " about
the base, and the decoration consists of inscriptions in Arabic
which are more picturesque than readable. A specimen of
—
12 MEDIEVAL AND RENAISSANCE

this kind of pottery in tlie Victoria and Albert Museum is here
illustrated :
Sicilo-Arabian Vase, painted with Arabic inscription, thirteenth to fourteenth

century (X'ictoria and Albert Museum).
The last refuge of the Moors in Spain from the power of their
Christian conquerors was Granada, and here was founded (aliout
1250) the Alhambra, the well-known fortress-palace; we thus
have an approximate date for the famous Alhambra vases. These
fine specimens of Moorish pottery are said to have contained gold
and treasure. Only one now remains and aided by careful draw-
;
ings and tracings taken by Haron Davillier, M. Deck of Paris was

enabled some years ago to make a reproduction in faience. The
original vase, of which there is an illustration on the opposite pîge,
is four feet three inches high and seven feet in circumference ;
its body is very graceful, terminating in a pointed base, wliile its

MEDI/EVAL AND RENAISSANCE 13
beaiilifully-propoiiioned neck is ornamented by two handles that
are flat, and not unhke outspread wings.
The Allianilira Vase, from a drawing made in

tlie AUiambra Palace, Granada.
The principal Moorish potteries were at Malaga, Granada,

Valencia, and At both the latter
Seville. places the Spaniards
have continued the manufacture of their celebrated tiles.
The earlier decoration of Italian majolica was by means of a

" slip " composed of fine white clay, and the painting was upon
this surface, which was then glazed by a transparent preparation
composed of oxide of lead and glass, the finished productions
being known by the term " Mezza-Majolica."
Another kind of decorative earthenware was made in the
north of by coating the body of the article with a "slip"
Italy,
or argillaceous covering, and then engraving or incising the
design in this "slip" before glazing. This ware has been termed
sgraffiati, sgraff'talo, or incised ware. The colourings are green,
—

brown, and yellow ;specimens are scarce, and one of a Tazza
on a tripod foot, which is in the Louvre Museum, is here
illustrated :
Tazza of Sgraftiato or Incised Ware. North Italian, fifteenth century (Louvre ftfuseuni).
The introduction produce

of oxide of tin enabled the potter to
an opaque glaze or enamel, thus obviating the necessity of the
" slip," and providing a much better vehicle for colours.
The invention of this latter preparation is generally attributed
to Luca Robbia, a name synonymous with Italian plastic
della
art, and though it is asserted by M. Jacquemart and Dr. Fortnum
that the knowledge of stanniferous or tin-enamel was anterior to
Luca della Robbia, there can be no reasonable doubt that he
altered and improved the process.
This talented artist was born about 1 400, and worked under a
clever goldsmith of Florence, one Leonardo. Finding his genius
for design cramped by the process of working in metal, he applied
himself to sculpture, and became a pupil of Lorenzo Ghiberti,
to whom are attributed the gates of the Baptistery at Florence.
Luca was fortunate enough and patronage
to secure the favour
of Pietro di Medici, who gave him some commissions for sculpture
in the Church of Santa Maria dei Priori at Florence. Although
Della Robbia was a very young man at this time (Paul Lacroix
gives his age at seventeen), he appeal s to have had so many orders
pressed upon him for execution, that he abandoned marble, as he
MEDIEVAL AND RENAISSANCE 15
liad abandoned metal, for the more easily manipulated clay.

Jacquemart suggests that, as a sculptor, lie would make his
models in wax or clay, before executing his designs in marble ;
and as, with his increasing fame, rapidity of production became

desirable, the idea would naturally occur to him to render the
clay atmosphere-proof by some enamel, which would improve its
effect, and make it an excellent sulistitute for marble. He also
SPECIMEN OF DELLA ROBBIA WARE.

One of a set of twelve round plaques, 28 inches in diameter, in the Victoria and Albert
Museum, painted in various shades of blue, with a white moulded border or frame.
appears about this time to have taken into partnership his two
pupils, who have been termed his " brothers," Ottaviano and
Agostino but one does not hear much of them, save as working
;
under his direction. Several iine specimens of his workmanship

still adorn the principal churches of Florence there are also ;
some good pieces in the Louvre, and our own Victoria and Albert
Museum is very rich in Delia Robbia ware.
Most of his subjects are in high relief, and adapted for church
enrichment. The enamel is fine in quality, beautifully white.
i6 MEDI/EVAL AND RENAISSANCE
opaque, and highly histrous and the modelling of his cherubs,
;
especially the faces, which have been left quite ungiazed and with
theiroriginal sharpnessuntouched,
are really masterpieces of plastic
art. From some good specimens
extant, we know that he also
painted on the flat surface. A set
of round plates or tondini (Nos.
7632-7643), now at the Victoria
and Albert Museum, are remark-
ably tine. They represent the
twelve months of the year, and the
figure in each is a husbandman
at work according to themonth
represented ; they are painted in
different shades of blue on a white
ground. (See page 15.)
Luca was succeeded by two
generations of artists, their style
varying only indetail,and soform-
ing what may be termed a Delia
Kobbia school of art, 1420-1530.
Of his descendants, his nephew
Andrea is the most famous, and
many of his productions are so ex-
be easily confounded
cellent as to
with those of his uncle. At his
death in 1528, Andrea was suc-
ceeded by his four sons, three of
whom followed the family calling.
Doubtless many pieces sold as the
work of the great Luca, although
of inferior merit, were in reality
the product of his grandsons'
workshops. One of these, Giro-
lamo, went to France, where
Jacquemart tells us that he super-
Gubbio Plaque, St. Sebastian (in relief),
dated 1501 (Victoria and .'\lbert Museum). intended the decoration of the
Chateau de Madrid in the Bois
de Boulogne. Meanwhile the home works iiad been directed
by Giovaiuii Delia Kobbia, but the " art " had degenerated into
" nianufactme," and a general decadence took place. Moreover,
MEDIEVAL AND RENAISSANCE ^7
the secret of the white enamel had become widely known, and
in consequence many imitations were made.
In the new Sculpture Gallery at the Victoria and Albert
Museum the reader will find numerous examples of this school
of ceramic modelling and enamelling, well arranged. It is really
a wonderful exhibit.
While Florence had become famous for Delia Robbia ware,
other Italian states and cities had made rapid strides in the
manufacture of enamelled earthenware —
Pesaro, P'aenza, Gubbio,
Urbino, Pisa, Bologna, Ravenna, Forli, Castel Durante, Caffagiolo,
Naples, Turin, and others and if he wishes to become acquainted
;
with the characteristics of these different fabriqucs, the reader

should study MM. Delange and Borneau's beautifully illustrated
volume. FaiencesItalienncs dit Moycn Age ct dc la Renaissance,
which also contains a sketch-map showing the geographical
position of some twenty-three of these Italian factories. (See
separate notice of Majolica, Chapter VII.)
The most noted in the list of ateliers of the Italian Renais-
sance is that of Gubbio, not because its average productions are
One of M. Giorgio's signatures.
more excellent than those of other factories, but because a

certain artist, Giorgio Andreoli, with whose name the celebrated
Gubbio plates are now associated, worked there. He was a native
i8 MEDIEVAL AND RENAISSANCE
of Pavia, and on becoming established at Gubbio, which was in
the Duchy of Urbino, he acquired the right of citizenship. He
was subsequently ennobled by his patron the Duke Guidobaldo,
and judging from the number of specimens extant, he must have
worked diligently. The first known dated specimen attributed
to him is the plaque of St. Sebastian, modelled in relief, which
is in the Victoria and Albert Museum, and of which we give an
illustration on page 16. It is dated 1501.
There is a plate by him in the British Museum, signed and

dated 15 17, and in the same show-case are several other very
fine specimens. He was known as, and generally signed himself,
Maestro Giorgio, his signatures showing various curious con-
tractions and combinations of rough sketchy monograms.
The pigments used by M. Giorgio were particularly brilliant,
and his lustred ware is remarkably iridescent.
From the end of the fifteenth to the middle of the sixteenth,
century, and especially while Guidobaldo was Duke of Urbino,
1538—74, ceramic art in Italy may
be said to have been at its
best. Artists of celebrity not only prepared designs, but painted
many of the pieces, though the fallacy that Raffaele actually
decorated the majolica known as Kaffaele ware has been ex-
ploded by the incompatibility of dates. During this period,
too, subjects from the Scriptures and mythology were intro-
duced as decoration for vases and plates. Many of the finest
specimens were made for presentation to neighbouring poten-
tates, a practice serving as a great encouragement to the Art, by
stimulating the recipients of these much-valued gifts to become
proprietors of majolica manufactories themselves, and to take a
personal interest in their progress.
The first real porcelain made in Europe, dated as early as
1580, is stated to have been made at Florence, under the patron-
age of Francesco de Medici, Grand Duke of Tuscany. About a
hundred years previous to this there is a record of a " transparent
and beautiful porcelain " having been made at Venice, and the
writer of a letter which has been preserved mentions the sending
of two specimens to a friend in Padua, but no one knows of the
actual existence of any more convincing evidence of fifteenth-
century European porcelain. It was translucent, of a kind of
soft paste with a thick, creamy, lead glaze, and the bottle decorated
with Renaissance ornament in cobalt blue which is in the Salt-
ing collection is a good representative specimen, and is known
as " Medici china." (See notice under Flokence, Chap. VII.)
Towards the end of the sixteenth century, Eastern porcelain

was introduced into Italy. Partly on account of this and partly
owing to increased competition, the production of majolica seems
to have languished, the factory at Castel Durante being the last
to remain in a flourishing condition. However, at the death
of its patron, the Duke Francesco Maria II. (1631), it followed
in the wake of the Pesaro, Urbino, and many other important
manufactories of Italian enamelled earthenware.
We have observed that the art of making enamelled earthen-
ware, called generally, though not very accurately, majolica,
spread from Italy to France. Doubtless the manufacture of
pottery of some artistic pretension may be traced to native
fabnqiies before any foreign introduction, but certainly a great
improvement may be attributed to the importation of Italian
potters and artists, just before and during the reign of Francis I.
The occupation of Naples by Charles VIII., though only tempo-
rary, prepared a road which Francis I. followed, and the taste
of the French was thoroughly awakened by contact with the
Italians and an acquaintance with their cities, so rich in works
of art. The marriage, too, in 1553, of the Dauphin, afterwards
Henri II., with Catherine de Medici, daughter of the Duke of
Urbino, would account for the introduction of Italian artists
into France.
The French, however, appear very speedily to have naturalised
Italian art, and adapted the different improvements they thus
learned to their existing potteries of Beauvais, Saintes, and others.
The traces of a soon vanished, and can now
foreign element
usually be detected only by experts, in pieces with French in-
scriptions that show signs of unfarailiarity with the language. In
the archives of Rouen is a document quoted by Jacquemart, dated
22nd September 1557, which mentions the manufacture of artistic
of somewhat elaborate design, for the King, by a potter of
tiles,
that time. The introduction of the tin-enamel gave a great

impetus to ceramic art, which also found liberal patronage
amongst the nobility of P'rance.
About this time, too, Bernard Palissy, after many trials
and failures, had achieved a success dearly bought and richly
merited, and those curious dishes, plates, and vases which have
rendered him justly famous, were produced. This remarkable
man was born, about 15 10, at La Chapelle Biron, a small village
between the Lot and Dordogne in Perigord. Of poor parentage,
he seems to have had a natural thirst for knowledge, to which
want of means proved but a slender barrier, and he found time to
visit the chief provinces of France and Flanders. He
married in
1539, and settled in Saintes as a glass painter and land measurer,
and some years later, happening to observe a beautiful cup of
enamelled pottery, he seems to have been seized with a remark-
able enthusiasm to become a potter, and to have liad no other
end in life but to disc(5ver the secret of a line enamel. Beyond
a knowledge of glass manufacture he possessed no other technical
information, and, therefore, set about his task under considerable
disadvantages. Experiment after experiment only resulted in dis-
appointment, and the whole of his savings and the principal part
of his scanty earnings were also devoted to the object he had so
enthusiastically set his mind to attain. The complaints of his wife,
and the distress of his home, could not deter him from the keen
pursuit of what appeared to all his friends and neighbours a hope-
less task, and at length, after discharging his last workman for
want of money pay wages, and parting with every marketable
to
chattel he possessed, he actually burned the floor boards of his
house in a last attempt to make a successful firing. For sixteen
long years victory was denied to this zealous potter, but, tardy as
it was, it came at last, and Palissy had the delight of removing
from his kiln a comparatively perfect specimen of the enamelled
earthenware with which his name has been identified. The sub-
jects he elected to illustrate are well known reptiles of every
:
variety, in high relief and of wonderful fidelity to nature, were

the strong points of his decoration, though figures and flowers
were occasionally introduced. His fame soon spread, and obtained
for him the patronage of Henri II. of F'rance, who gave him
liberal commissions and protection. In religion, as in art, Palissy
was earnest and conscientious having embraced Protestant
;
principles, he was proscribed by the edict of the Parliament of

Bordeaux in 1562, and, notwithstanding the personal influence
of the Due de Montpensier, was arrested and his workshop de-
stroyed. The King claimed him as a special servant in order to
save his life, and subsequently he only escaped the massacre of
St. Bartholomew by Court protection. At the age of eighty, how-
ever, he was again arrested and confined in the Bastille, and, after
again and again refusing to sacrifice his religious principles,
though, it is said, he was once personally urged to do so by the
King (Henri 111.), lingered on in prison until 15^9, when he died,
a martyr, like so many cjthers of his time, to the Protestant faith.
That he was naturalist as well as potter, his excellent representa-
a.
tions of reptiles and insects cnn leave no doubt, and it is worthy

of remark, that these natural objects are, without exception,
iialioiial. His celebrated Marguerite daisy ornament was in all
probability adopted out of compliment to his Protestant pro-
tectress, Marguerite of Navarre.
many imitators and pupils, and the manufacture
Palissy had
of the PaHssy ware was continued until the time of Henri IV.
A plate, with a family group of this monarch and his children,
exists now, and has been repeatedly copied.^ It may be observed
here that the original Palissy vase was very light the imitations ;
are much clumsier. There are some excellent examples to refer

to in the Salting bequest.
In speaking of French ceramics of the Renaissance period,
the celebrated, and now extremely rare, Saint Porchaire ware
claims attention after Palissy ; this, unlike Palissy ware or the
enamelled pottery of an encrusted faience.
Italy, is Its origin is
attributed to a woman of great taste, Helene de Hengest, widow

of Artur Goufher, formerly governor of Francis I., and Grand-
Master of France. This lady used to reside during the summer at
the chateau of Oiron (a small locality in the dependency of Thouars),
and was said to have established under her immediate patronage
a pottery managed by Bernart and Charpentier. The ware was
of fine paste, worked with the hand, and very thin, and upon the
first nucleus the potter spread a still thinner layer of purer and
whiter earth, in which he graved the principal ornaments, and then

filled them in with a coloured clay, which he made level with the
surface. It is, therefore, a decoration by incrustation rather than
by painting. During Helene's lifetime the pieces were principally

vases commemorating the death, virtues, and idiosyncrasies of her
friends, but after her demise, in 1537, the fabriqui' being con-
tinued by her son, the decoration became richer and mainly of
an architectural type pieces of this class are now occasionally
;
seen in good collections, though it is said that not more than

sixty-five authenticated specimens are in existence. Salt-cellars,
triangular or square, give us the Gothic window of the collegiate
chapel of Oiron, supported by buttresses having the form of the
symbolic termini supporting the chimney-pieces of the great gallery
of the Chateau Gouftier (some few years afterwards sacked during
the religious wars). Royal emblems, cyphers, and shields also
occur as part of the ornamentation.
' MM. Del.inge et Boineaii's illusLrated volume, L'QLnvres de Bernard Palissy, should
be Consulted.
22 MEDIAEVAL AND RENAISSANCE
This beautiful faience was, until a few years ago, known by
the name of Faience cfOirou, or Henri Deux ware ; but, on the
authority of M. Edouard Bonnafte, a learned writer on French
art, who took some pains to trace its origin to the village of Saint
Porchaire, it has been acknowledged by collectors under its more

correct title of Saint Porchaire.^
Of all ceramic gems it is the most costly, and to judge by
the more recent public sales where pieces have changed owner-
ship its price seems to rise rather than fall. At the sale of
Saint Porcliaire Sall-cellar (Victoria and AUierl Museum).
the Fountaine (Narford Hall) collection, three specimens which

were found in an old clothes-basket under a bedstead at Narford
Hall, realised the enormous sum of £b2-},b. At the Spitzer sale in
Paris, 1893, a tazza which at the Hamilton Palace sale a few years
previous had brought ;/.i2i8, was purchased by Mr. George
Salting for £1500, and this is now at the Victoria and Albert
Museum. A candlestick in the collection of Mr. Leopold Koths-
child cost the stun of .^3675. Those of our readeis who would
' In the calalojjuc of the Sahini; l>ci|uest llie Victoria and Allien Museum authorities
appear to prefer the former name of Henri II. ware.
;
MEDIEVAL AND RENAISSANCE =

3
learn more and coveted kind of

particulars of this highly prized
ware which was compiled by Mr. Chaffers and
will find a table,
revised and brought up to date by the author of the present work,
in the later editions of Chatters' Marks and Monograms. (See
separate notice under Saint Porchaire, Chap. VII.)
The success of this beautiful and delicate faience did not
outlive the two first potters; the limited production, therefore,
as well as its undoubted merit, is a reason for its value.
The famous wares of the Renaissance period were, then,
Eli/,abellian Sluneware Tiisj, silver-mounted. Mall Mark dale 1600

(Victoria and Albert Miiseinii).
the "Henri II.," or Saint Porchaire, and the ware of Palissy

but at this time a considerable number of smaller ateliers were
producing specimens of varying merit, under the immediate
patronage of many art-loving seigneurs in Southern France.
Some of the more important of these makers will be found
noticed in the alphabetical list of ceramic factories in a subsequent
chapter —among others that of Franvois Briot, a skilful goldsmith,
and also a potter, whose woik, contemporary with that of Palissy,
is sometimes confounded with it. (See notice under Briot, Chap.
VII.) As upon specimens from some of these smaller French
potteries there is no fabriquc mark, it is difficult to decide to
which potter to assign them. Some, however, bear as part of
their decoration the coat of arms or heraldic device of the
owner of the property where they were made.
The Persian school of ceramics, embracing the pottery of
Persia, Damascus, Anatolia, and Rhodes, belongs to the period
which we are now considering. In the preceding chapter some
allusion has been made to this school, influenced as it was by the
Teapiii of Klers Ware (VioUiiia and Albert Miiscimi).
old Mosaic Law ;and in the later productions of the thirteenth

to the sixteenth and seventeenth centuries we find this influence
still predominant, though it wanes during the seventeenth century,
when figures of men and of animals began to appear in tlie scheme

of decorations. Under separate notices in Chapter VII., on Persia
and Rhodes, some fuller particulars relative to this kind of pottery
will be found.
With the Middle Ages had come the Crusades, bringing to
Europe a better acquaintance with the Saracenic art, and the
production of tiles, which is now on such an enormous scale in
England, may be said to have originated from this source.
MEDIEVAL AND RENAISSANCE 2S
G(;rman Stoneware (Sixteenth Century).

Four-iiandled Waler-iug. Coffee-pot.
Stoneware of a decorative kind was

also made in Nuremberg and many
other parts of Germany the famous
;
cannettes of Cologne being made about

the si.xteenth century, and imported
thence to England, where their manu-
facture was attempted, and patents
granted in 1626. (See notice under
Cologne, Chap. VII.) Some thirty or
forty years previous to this date, how-
ever, stoneware of a superior kind had
been made at Staffordshire, one of the
earliest potters being one William Simp-
son, and, later, the fictile art in England
received an impetus by the immigration
of some Dutch potters, the brothers
Elers, who brought with them the secrets
that were known at the time to some Bellarminc, (if Kulliam Stoneware
(Schreil)er Collection, Victoria
of the Continental potters. (See also and Albert Museinn).
Eleks, Chap. VII.)
The well-known "greybeards" may be mentioned her
These jugs were first made in caricature of Cardinal Bellarmine,
who, through opposition to the Reformed rehgion, was unpopular
in the Low Countries. Tradition ascribes to the Cardinal a
somewhat bulky person, together with a long beard, hence these
jugs were called " Bellarmines." For those who are interested
in tracing our slang terms back to their derivation, Mr. jewitt
Dish ofTtffl Ware, decxn'alcil in slip (Vicloria and Alliert Museum)
quotes from an old play, showing that the vernacular " mug" was
taken from these jugs.
Under the notices of different potteries in Chapter VII., the
reader will find some particulars of the work of both English and
Continental potters during the sixteenth and seventeenth cen-
turies. In P'ulham, John Dwight established in 1671 a manu-
factory where, after many experiments, he succeeded in producing
a material which he termed porcelain, hul which has been
happily called by Professor Churcli a '' porcellaneous stoneware,"

and for which he took out a patent. (See also notice under
Flilham, Chap. VII.)
At Wrotham, in Kent, were produced, in the early years of
the seventeenth century, those quaint, slip-decorated posset-pots,
tygs, and dishes which are picturesque ceramic reminiscences
of this time.
Some excellent stoneware jugs and tankards were also made
at Brampton near Chesterfield, at potteries in theneighbourhood
of Nottingham, and some other districts.
In Staffordshire our potters were making those buff-coloured
dishes which we now recognise as " Toft
ware," and concerning which, under a
separate notice, more details are given. The
illustration on p. 26 of a very quaint dish,
signed by the potter, will give an idea of
this peculiar ware, which marks a distinct
period in our national ceramics.
Francis Place deserves mention as a „ ,, „ i„ ^ ^^r
Small Cup of Place s Ware
potter of this period (seventeenth century), in Mr. Thomas Buymon's
CoiiL-ction.
He was apparently a gentleman of ample
means and cultured taste, and established fabrique in the Manor -a.
House, York. There is in the Victoria and Albert Museum a

quaint little mug, in appearance resembling agate, only z\ inches
high, which was presented to the Museum by the late Sir A. W.
Franks. It was purchased at the famous sale of the contents
of Strawberry Hill, and has a time-worn and faintly-inscribed

label which is in all probability in the handwriting of Horace
Walpole — " Mr. P'rancis Place's china."
Mr. Thomson Boynton possesses a similar specimen which
is illustrated on
27 from a photograph.
p.
Before passing on to the introduction of porcelain, mention
must be made of the celebrated Delft, the manufacture of
which flourished in the seventeenth century. The old Dutch
town of Delft, between The Hague and Rotterdam, belonging
to a nation which, at that time, was the only European Power
to'which the Japanese allowed an entrance into their ports,
availed itself of its large importation of Eastern porcelain to
attempt copies thereof. These took the shape of a product
known as " Delft," which, though an earthenware in substance,
has yet much of the feeling and character of Oriental porce-
2 8 MEDIEVAL AND RENAISSANCE
lain, and, in the fine colour (the Oriental blue) and peculiar
bluish-white of the ground of some of the best specimens, is
very closely assimilated to its original models. Like the term

majolica, " Delft " is often wrongly applied to all kinds of glazed
earthenware.
Design uf Ornament on Pottery liy I'alissy-

CHAPTER III
porcelain
ITS INTRODUCTION INTO EUROPE AND GENERAL ADOPTION
E are accustomed to speak and to write of

certain marked developments in Art and
Industry as belonging to a century, a reign,
or a dynasty, although the actual periods
of the almanac or the life of a sovereign
may not coincide with the changes to which
we refer. It is convenient in a general
way to consider steam and telegraphy as
the product of the nineteenth century, to
refer to a certain form of ornament as Queen Anne "
" or
" Georgian," and in a similar connection we must consider the
eighteenth century as the century of porcelain, just as the sixteenth
was that of majolica.
Ceramics have always been rightly divided into two distinct
classes —pottery and porcelain. The term " porcelain," or, as it
is often called, china, should include thoê articles produced by
an artificial mixture of certain mineral elements, known by their

Chinese names of kaolin and petuntse, or their English ones of
china clay and felspar.
Porcelain is translucent and breaks with a smooth fracture,
either shell-like or granular according to its composition, hard or
soft paste, of which we shall speak presently. Pottery is opaque
and breaks with a rough fracture, that is, will show rough edges
where broken.
The derivation of the word Porcelain is said to be from the
Portuguese porccllana (a little pig), and is explained by the fact
that the Portuguese, the pioneers of Eastern trade, used as a
currency in their traffic little cowrie shells {poixcllana), so called
from their shape resembling that of a pig. When they brought
home the first specimens of real porcelain from China, and the
novel commodity required a name, its shell-like appearance at
—
30 PORCELAIN
once suggested tlie title, and as porcelain or china it has ever
since been known.
Porcelain varies considerably in composition, and is divided
roughly into two classes, hard paste and soft paste. Hard paste
of whatever nationality is very similar in its component parts, and
contains only the natural elements already mentioned of china
clay and felspar. The china clay is an infusible plastic body,
while the felspar is a dry, fusible material by which the whole
mass is bound together in partial vitrifaction. This felspar con-
stitutes by itself the hard glaze which is the surface of hard
porcelain, and if we attempt to scratch this with a file or the
blade of a knife, it will resist any attempt to make an impression,
unless the file should be specially tempered for such a hard
substance.
Soft paste porcelain is of different kinds, varying according
to the particular recipe adopted and also to the purpose for
which the porcelain is intended. M. Brongniart has divided it
into three classes :
I. aiiificielle in which we should include the

Porcelainc tcndrc
earliest made French porcelain of Rouen and St. Cloud, also that
afterwards made at Vincennes and Sevres. 2. Porcelain tcndrc
nalnrcUc, which embraces the china made at Bow and Chelsea
and the other English factories which followed them, always
excepting Plymouth and Bristol. Mr. William Burton in his
valuable writings on this subject has given the analyses of the
different compositions, which vary in each case, and has termed
them artificial porcelain. 3. Brongniart distinguishes a third class
which he terms porcelainc inixte or hybridc, and under this classih-
cation he includes the early Florentine porcelain made in the
si.xteenth century and that of some other Italian fabriqucs.
Whatever be the combination of clays, lime, sand, or of
animal and mineral ingredients which make up the many varieties
of soft paste porcelain, they have all a general similarity, and
their softness is a question of degree. A very soft or as it is
technically termed " fat " specimen of old Sevres, a piece of

Nantgarw, or a Minton imitation of Sevres, each differing in
appearance to a trained eye and also to the touch, all possess
a vitreous body and a soft glaze which could be scratched by
a knife or other sharp instrument. This glaze, too, instead of
forming itself in it does in the case of hard paste
the kiln as
porcelain, is applied by a subsequent firing to that of the body,
and at a lower temperature. Acids from fruits, ruul dyes, will
—
PORCELAIN 31
stain soft paste, while be impervious to such

hard paste will
contact, and while the fracture hard paste will show edges
of
like those of a broken shell, the edges of soft paste porcelain
when broken will be granular or, as it has been described, like
the broken surfaces of a lump of sugar. It is also hred at a
lower temperature than the hard paste china, and while it lends
itself to the colour effects of decoration more kindly than does
the harder description of china, it naturally cannot compare

favourably with it in respect of durability.
Specimens of Chinese porcelain had found their way to England
as early as 1506, when a present of some "Oriental china bowls"
was made to Sir Thomas Trenchard, then High Sheriff, by Philip
of Austria, when his Majesty visited Weymouth, being driven
there by stress of weather during his voyage from the Low
Countries to Spain. Amongst the new year's gifts to Queen Eliza-
beth, 1587-88, was "a porringer of white porselyn and a cup of
green porselyn," presented by Lord Burghleigh and Mr. Robert
Cecil. Probably one of the most ancient specimens of porcelain
in England is the Celadon bowl which was presented to New
College, Oxford, by Archbishop Warham some time between
1504 and 1532.
The secrets of manufacture
were well kept by the Celestials,
and inquisitive travellers were regaled with many a hoax, which, in
default of better information, was retailed and believed in Europe.
Thus Lord Bacon, certainly one of the best-informed men of his
time, in an argument at the bar during the impeachment of Haste,
speaks of the " tniiies" of porcelain, " which porcelain is a kind of
plaster buried in the earth, and by length of time congealed and
glazed into that fine substance."
It was also stated that porcelain was made of eggshells and
beaten small and buried
seashells, in the earth for a hundred years ;
hence the old couplet
"True fame, like porc'laiii earth, for years must lay

Buried and mixed with elemental clay."
Another fable was that the mysterious porcelain cups were of such
a nature as to betray poison by a sudden change of transparency.
It must of course be borne in mind, that before the Cape of
Good Hope had been doubled by the Portuguese traders, every

specimen brought home had been carried across the desert on the
backs of camels, and that, owing to the monopoly of Eastern
trade, enjoyed first by the Portuguese and subsequently by the
32 PORCELAIN
Dutch, the EngHsh East India Company was shut out from import-
ing Oriental porcelain for some time after its formation in 1650.
Pere d'Entrecolles, the Superior-General of the French Jesuits
in China, who established a mission in some of the provinces of
the Celestial Empire, writing in 1717, mentions the number of
furnaces in a single province, that of Feouliang, as having in-
creased from 300 to 3000 and the same writer, who appears to
;
have been most anxious to impart to his countrymen the secret of

porcelain manufacture, having learnt from his Chinese converts
many particulars, sent home a list of specific instructions, accom-
panied by specimens, to Father Orry at Paris in 17 12. The
information thus acquired by the French potters laid the founda-
tion of the famous manufactory at Sevres.
We have seen, in a previous chapter, how the importation of
true porcelain into Europe about the end of the seventeenth
century caused the decline of the majolica fahriqitcs. Its
finer and more compact body, its superiority for all vessels of
use, and, moreover, the novelty and secret of its production,
attracted the attention of art-loving sovereigns and noble patrons
of the different ceramic ateliers, and the manufacture of artistic
majolica was comparatively forsaken. It must also be re-
membered that, previous to its introduction into Europe as a
manufacture. Oriental porcelain had connnanded a very high
price amongst collectors the difficulty of importation, owing
;
to the exclusive manners of the Chinese, accounting in a great

measure for this.
There is some doubt as to who can claim the credit of having
first made porcelain in Europe. Jacquemart tells us of the liberal
offers made by Alfonso, Duke of Ferrara, Modena, and Reggio, to
obtain the services of a Venetian potter who was reputed to
possess the coveted secret, but who declined the Duke's over-
tures on account of the journey and his age.
Another story,
which is substantiated by the archives of Florence, is interesting
as showing the importance attached to the secret of making
porcelain. In 1567, owing to the accidental discharge of a
cannon in the ducal arsenal, the master-founder, who was also
chief potter, one Camillo, was mortally wounded, and there
was considerable excitement lest he should die without first
revealing the secret of making porcelain, which he was believed
to possess. Jacquemart quotes an extract from the note of the
ambassador to the Grand Duke of P'lorence, announcing the event
to his master: "Camillo da Urbino, maker of vases, and jxiinter.
PORCELAIN 33
chemist in some sort to your Excellency, who is the real Modena

inventor of porcelain."
In the preceding chapter some reference has been made to the
first soft paste porcelain made at Florence, and under the notice
of that factory some additional particulars will be found. This
was termed Medici porcelain, and only some forty specimens are
known to exist.
Venice also claims to have been the first in this field, but
there is no record of any successful production until later, though
we know that attempts were made as early as 1520. In 1695 a
soft porcelain of fine quality was made at St. Cloud (see Chap, VII.),
and the invention was protected by special royal patents and con-
cessions. These Jacquemart quotes in exteiiso, also some interest-
ing e.xtracts from the Mcraire de France for the year 1700,
recording the visits of royalty and aristocracy to the factory.
The first true hard porcelain was, however, made in Saxony
in the year 1709, and fostered by the keen personal interest of
Augustus II., Elector of Saxony and King of Poland, this
manufactory became in a few years famous for its beautiful
productions. Every precaution was taken to ensure the secrecy
of the highly-prized recipe and when Charles XII. of Sweden
;
invaded Saxony in 1706, Bottger, at that time busily employed

in making the experiments that resulted successfully some three
years later, was sent with three workmen under a cavalry escort
to Konigstein, where, safe from molestation, he could continue
his work in a laboratory especially fitted up for him in the
fortress. His fellow-prisoners formed a plan of escape, but
Bottger was prudent enough to disclose the scheme, and by
this act of fidelity became subjected to less rigorous confine-
ment. In 1708 he succeeded in withdrawing from his furnace
a seggar containing a teapot, which, in the presence of the King,
was plunged into a vessel of cold water without sustaining any
injury, and he improved on this signal triumph in subsequent
trials, untilthe great manufactory at Meissen was opened under
his directorate in 1709-10. (See notice of Dresden, Chap. VII.)
From the notices of the different factories in Chapter VII.,
it will be seen how, by means of runaway workmen, the secret
of porcelain manufacture spread to other centres first to Vienna, ;
and afterwards to many other German towns, wherever the

facilities existed for the establishment of the necessary works,
and supply of the kaolin. In a great number of cases, how-
ever, the career of prosperity was short, owing to many diffi-
C
34 PORCELAIN
culties,of which the cost of management was not the least.
Such factories were often the expensive toys of artistic potentates,
and perished for lack of the necessary subsidies when the patron
died, orwhen from other circumstances funds were not available.
Specimens of their manufacture have, in consequence, become
rare and valuable, not only for their scarcity, but because, as
they were in many cases produced at great cost, without regard
to making the factory self-supporting, they have intrinsically an
artistic value superior to the vast bulk of the productions of more
recent manufactories, which are conducted on commercial
principles. I
In England our potters had not been idle in attempting to
produce, like Continental rivals, a material that would
their
compare favourably with the real porcelain of China. We
have seen how John Dwight in the latter half of the seventeenth
century nearly succeeded, and also how the brothers Elers,
settling in Bradwell and also near Burslem, produced a red
ware, not unlike that made by Bottger of Meissen, and also closely
assimilated to the earlier red Chinese ware.
As an illustration of the extreme caution observed by success-
ful potters, it is said that the Elers only employed workmen of
the lowest intelligence for certain processes, fearing that their
secret would be known and betrayed. In Dr. Shaw's History
of the Staffordshire Potteries, a book which contains a vast
amount of carefully collected information on the subject, we
find the story of a master potter named John Astbury feigning
idiocy in order to get employment in the Elers' works, and so
obtain access to their secret recipes and methods. It was on
account of competition and the annoyance of finding that rival

potters shared their jealously guarded secrets, that the Elers
relinquished their works in Staffordshire and, according to Dr.
Shaw, removed to Lambeth or Chelsea about 1710.
The next great name which stands out in the history of
ceramic progress in England is that of Josiah Wedgwood, who
having been apprenticed to his father in 1744, after a short
partnership first with Harrison and then with Thomas Whieldon,
started on his own account in 1759. Three years afterwards he
produced his celebrated cream ware, called "Queen's ware," and
in 1768 he took Thomas Bentley into partnership for the orna-
mental work in his manufactory, which had by this time developed
into a very extensive business.
In 1752 John Sadler, a master printer of Liverpool, discovered
—
PORCELAIN 35
the cheaper and quicker method of decorating Wedgwood's

cream-coloured ware by transfer printing (see Liverpool, Chap.
VI 1.), and he and liis partner Guy Green, by means of this
process, enormously increased the demand for such ware.
Richard Chaffers, a prominent Liverpool potter, hearing of
Wedgwood's success, and fearing that he would be beaten out of
the market unless he could find the means to manufacture " true
porcelain," travelled on horseback to Cornwall in 1755, with a
thousand guineas in his holsters, to find and purchase the "soap-
rock " which was the necessary ingredient. When he found
this material in Cornwall, and succeeded in producing a china
similar to Oriental porcelain, his first presentation was to his great
rival, Wedgwood. The who died in
story of Richard Chaffers —
1765, soon after his adventurous and successful journey is well —
told by Mr. Joseph Mayer, in whose collection are some of the
trial pieces of Chaffers' porcelain. In these days of the twentieth
century, when articles of china are in such common daily use,
it is heartburnings and jealousies, the diffi-
difficult to realise the
culties,disappointments, and suspense endured by our eighteenth-
century potters, in producing a material which should equal or
surpass the famous Chinese porcelain. In the large edition of
Chaffers there are given some extracts from letters written in
the year 1756-63 respecting the results of Richard Chaffers' ex-
pedition, and they read now almost as do the reports from the
managers of gold mines in Africa or Western Australia at the
present day. Thus :
1756, October
2.
— "He
will send about ten tons of clay, but was afraid of a
disturbance between the lords of the land when he weighed it off; his
charges out at this present was not up nor down of thirteen pound."
1759, December 8.
—
" Teppit had weighed of the clay nine tons and seventeen
hundred of as nice a clay as ever was seen, and said there was a man
down in October who said he would give any money for such a parcel."
1761, May 23.
—"We have found a very good bunch of clay ; if it holds we can
rise two or three hundred a day, and when the level is in, I hope it will
serve for many years."
1763,
—
October 5. "Sends off ten tons more in thirty-five casks. In 1764 the
soap rock yields well, and is duly shipped ?'/rf Hull to Liverpool."
There are many more, and also a note that in May 1755,
the " mine " of soap rock was sold to the Worcester Porcelain
Company for ^500.
About this time, or some years previously, experiments had
been made by William Cookworthy of Plymouth with Cornish
kaolin and granite stone, and a patent, which had considerable
36 PORCELAIN
influence upon our native porcelain manufacture, was taken out
by him in 1758. The works at Plymouth were transferred to
Bristol in 1770. (See notices on these factories in Chap. VII.)
Then we have the commencement of the Chelsea Factory
prior to 1745. Wethat the Bow Factory was doing an
know
extensive business in —
1760 and in 175 we find Mr. William 1
Duesbury establishing the Derby Works, and Dr. Wall of Wor-

cester founding the celebrated factory in that city. China was
made at Lowestoft in 1756, John Turner commenced his china
works at Caughley, Shropshire, in 1772, and the Rockingham
works were founded in 1757. Under the different notices in a I
subsequent chapter the reader will find particulars of ail these
factories the dates of their initiation are given here to emphasise
;
the fact that in England, as on the Continent, our potters were

making great strides in the development and perfecting of their
art. There are in books and newspapers of the time many re-
ferences to the new invention of the da}'. Numerous quotations
from the letters of persons interested in this novel industry
might be given, which the different clays and methods are
in
discussed. Various patents were taken out by inventors of new
processes, and there was, as we have seen, an active rivalry
between manufacturers and art patrons, in making and improving
" true porcelain." It is a sign of the times that the Bow manu-
factory was called " New Canton," while in the epitaph of Thomas
Frye he is described as " The Inventor and First Manufacturer
of Porcelain in England."
The names of inventors, founders, and manufacturers of
porcelain, to which we have just referred, are those of some of
the pioneers. Later we have Spocle and his successor Copeland,
the great house of Mintons, and the Davenports in England. In
Wales, Mr. Dilwyn produced his beautiful Swansea and Nantgarw
china, while in the north of Ireland Mr. Armstrong's enterprise
achieved the Belleek factory.
During the eighteenth century, then, we find that in England
and on the European continent the manufacture of porcelain
passed through its early experimental stages, and developed into
an important industry.
Knife-handle of Mene^y porcelain.

CHAPTER IV
00oDern
NArt, as in manufactures, a characteristic

phase of development has been the gradual
education of the million to a knowledge of
its many wants thus, with the growth of
;
wealth and civilisation, the circumstances

of Art have materially changed, even if
her laws have altered but little. She now
aims, not as formerly, to produce luxuries
for the few, but to supply the wants of
the many, and the artist is no longer dependent upon a single
patron, but upon society at large. On the other hand, the great
commercial ideal of making a speculation remunerative is applied
more and more to undertakings having for their object the pro-
duction of artistic works, and in too many cases art degenerates
into manufacture. Against this disadvantage, however, we must
set off the vast increase in the support and encouragement
accorded to artists, and therefore the increase in the number
of persons trained to art pursuits also the modern demand
;
for copies of good originals affords the producer means of

recouping himself for his outlay on the latter.
With respect, however, to pottery and porcelain, one can
scarcely contrast the modern period with the ancient, as most
of the finest European ceramic specimens only date back to a
relatively recent period —
for majolica the fifteenth and sixteenth
centuries, for porcelain the eighteenth. Furthermore, in con-
sidering the matter, we have to compare the productions of our
own time with those of a period when potteries were the play-
things of sovereigns, and not commercial undertakings carried on
for profit.
When the collector looks about him, even though his investi-
gation goes no further than the shop windows of one of our
38 MODERN
fashionable London streets, and compares the inferior wares
exhibited with specimens of early Sevres, Dresden, or Oriental
porcelain, he is apt to exclaim at the sad degeneration of ceramic
art. But before passing sentence he must consider two things.
First, he must carefully separate art from manufacture for ;
though the bad copy offends the critical eye of the connoisseur,
surely it is better that the public, if it must have ornament cheaply
provided, should have something to educate it in the direction
of the good original, rather than something without prece-
dent as well as without merit. Secondly, it must be recollected
that " the survival of the fittest " is an axiom in Art as it is in
science, and that as the best is preserved to us from former ages,
so posterity will judge of our nineteenth-century art, not by its
worst specimens, but by its best, even though some of these now
pass with their merit unacknowledged.
It will be seen by reference to the list of different factories
(Chapter Vll.), that, with a very moderate number of exceptions,

decline and fall followed rise and progress in a compara-
tively short space of time, because the limited production was
insufficient to support the heavy expenses attending the manage-
ment. Some few factories have with varying vicissitudes con-
tinued from their foundation to the present time ; the following are
the chief: Dresden, founded 1709: Sevres, 1745; Worcester,
175 1 ; Berlin, The ranks of
1751. the fallen have been re-
cruited by an army potters who started some years after-
of
wards : our English Wedgwood commencing business in 1759,
Spode 1784, and Minton in 1793.
in A revival of the old
Capo Monte works has been effected by the Marquis Ginori
di
at his establishment near Florence the Copenhagen factory,
;
too, was resuscitated in 1772, and made a State concern in
1775. The small Bavarian factory at Nymphenburg is still
carried on, and here and there fresh factories of porcelain have
been established. The increase in the manufacture of pottery as
distinct from porcelain is on a very much more extensive scale.
The first-named of the old factories, the Royal Saxony or
Meissen manufactory, has held its own to the present time.
Its chief fault is ultra-conservatism in its management, too rigid
an adherence to the old models and designs, and a general

want of vigour in breaking fresh ground.
To the modern German school is due the revival of over-
decorated Vienna china. When the State or Royal factory
ceased in 1864, its plant was sold, and some of the employes
WORCESTER PORCELAIN.
Specimen of modern work, a vase in the Italian style,
by the Royal Worcester Porcelain Company.

MODERN 39
started works of their own. At first the better traditions of the

old factory were maintained, but the anxiety for profit,and tiie
endeavour meet a demand for cheapness, led these men and
to
their successors to produce tawdry copies of the vases and ser-
vices of better times. Therefore " modern Vienna " has become
a byword for over-decorated, richly gilded, and generally badly
painted china.
Unfortunately, too, we have to place to the account of modern
German manufacturers some of the worst forgeries and imitations
of old Dresden, of old Worcester, and of other kinds of porcelains
which are in request. (See notes in Chapter VI. on " Counterfeit
Marks.")
In some cases new factories have been started in the place
of extinct ones, and although the present productions are of
a meretricious character, generally resembling inferior modern
Dresden, they use the same mark as that of their more worthy and
painstaking predecessors. The group of hard paste porcelain
factories which towards the end of the eighteenth century grew
up in the forest district of Thuringia have gradually abandoned the
production of the higher description of goods, and the surviving
concerns make large quantities of china for table use, and some
specimens are marked in imitation of older and more sought
after fabriqitcs. (See also notes on "Misleading Marks" in
Chapter VI.)
The Berlin factory produces a great many presentation speci-
mens, in which the representation of Imperial portraits is a pro-
minent form of decoration. It also makes a large quantity of
high-class porcelain for table services.
The Sevres manufactory lives somewhat upon its past re-
putation ; and though the forms and ground colours are very
good, the delicacy of the old pate iendre is wanting, and the paint-
ing of the subjects shows a great falling off from the days of
Madame de Pompadour.
Until recently one was able to purchase at the Sevres manu-
factory specimens of recent productions, but some few years ago
the Government came to the conclusion that as a State concern
under a Republican form of government it should not enter
into competition with private enterprise, and the sale of Sevres
porcelain was accordingly prohibited. Specimens are now pre-
sented to individuals in recognition of some public service.
To the modern French school of ceramic art belong the fac-
tories of M. Pillevuyt {ci-v.), of M. Deck, of Limoges, now owned
40 MODERN
by Haviland & Co., and many others, including that factory of
excellent ceramic statuary or " biscuit" of " Maison Gille," whence
come figures of Love and Folly, and statuettes of the
life-size
different models of Venus, which may often be seen in some of
the best of our London china houses. There are also in the
neighbourhood of Fontainebleau several china-makers, amongst
others the successors of Jacob Petit, who established a factory at
Belleville in 1790. In the close vicinity of Paris, too, are many
makers and decorators. The majority of these produce imitations
of either the Sevres or Dresden models, and the quality is good,
bad, or indifferent, according to the class of demand catered for.
The manufacture of faience of an ornamental kind is carried
on France upon an enormous scale. There are a great many
in
small makers who produce imitations of the old Delft, and also of
the early faiences of Rouen, Moustiers, Marseilles, and kindred
wares. Several of these are alluded to in the notices of different
factories in Chapter VIL In a notice, too, of the modern
French china, one must not forget various minor fabriqucs,
where the soft paste of Tournay is decorated after the manner
of the old Sevres. The best of these wares approach in
softness of glaze and brilliancy of colour the veritable pate
tendrc which they imitate. Of the colours thus revived, those
imitating the pomnie voie and gros bleu are the best, while the
imitation of the beautiful rose du Barry is the least successful. The
enrichment of these pieces by jewelling is very clever, and is
better in effect than that of our English manufactures. These
firms of porcelain decorators affect the double L of Sevres as a
mark, and use in lieu of a date-mark the initial of their own name.
(See also notice under "Counterfeit Marks," Chapter VI.)
Of the modern Italian school of ceramics, perhaps the chief
is the large manufactory of the Marquis Ginori, whose artistic
majolica is particularly good, the shapes being graceful, the decora-

tion of a high class, and, in some of the best pieces, very finely
finished. The lustred or iridescent majolica of the sixteenth cen-
tury has been successfully reproduced, and in fact some of the
pieces have been palmed by unscrupulous dealers as original
off
specimens. As to the porcelain, the sharpness of the bas-relief
is inferior to that of the old Capo di Monte, and the colouring
is more crude, but the shapes are excellent, and the peculiar kind
of twisted handles {iutrecciato) very pretty (see CAPO Dl MONTE).

The majolica manufacturers of Bologna, of Faenza, Imola,
Le Nove, and Cubbio {(j-v.), and some others, are making, with
MODERN 41
considerable success, reproducticjns of the Urbino of the Re-

naissance period, and at the Italian Exhibition held in London
in 1888, when the author acted as one of the jurors of this class
of ceramics, there were in the faience exhibits some excellent
reproductions of Le Nove pottery. At Valencia and Seville manu-
factories exist, not of a high order, but showing some skill in the
reproduction of " Alcazar " and " Alhambra " tiles, and decorative
pottery. In Portugal the painting of pottery pictures, mostly for
the embellishment of churches, is carried on and a notice of
;
modern would be incomplete without mention of

foreign ceramics
the factories of Copenhagen, the products of which are familiar to
every observer of shop-windows in the metropolis. In the repro-
duction of Thorwaldsen's models and bas-reliefs in terra-cotta
the Danish potters are very clever, and the chief of these manu-
factories is under State management (see Copenhagen).
In modern ceramics England has made greater progress
than any other country during the past forty or fifty years,
since the impetus given to art industry by the great Exhibition
of 1851.
The notices of factories in Chapter VII. will give the dales and
some particulars of the progress of our great national works,
Minton, Worcester, Copeland, and Doulton ; and an examination
of the official catalogues of International Exhibitions since 1831,
and of official trade returns published during the last twenty or
thirty years, will emphasise in a marked degree the enormous
increase in this country of the manufacture of pottery and
porcelain.
The adoption bythe Worcester and Minton factories, particu-
larly by the former management, of the pate stir pate process of
decoration has been, in the writer's opinion, one of the most
successful improvements to be noticed. It gives to the speci-
men much of the beautiful appearance of a cameo, an effect

which is increased by the polish given to the lower stratum,
forming the groundwork of the subject, which is in slight relief.
This process, inspired, it is said, by a Chinese porcelain vase
in the Sevres Museum, was introduced at Minton's by Louis Marc
Solon, who had previously worked at the Sevres factory but at ;
the outbreak of the Franco-German War in 1870 he left France

and joined Minton's staff. He found this parian body especially
adapted to his pate sitr pate decoration, and from 1870 until his
retirement from Minton's in 1904 he has continued to produce
beautiful vases and plaques decorated in this manner. His
42 MODERN
conceptions are original and full of poetry and charm. The
white cameo-like effect is particularly successful when used as a
slight relief to the celadon green grounds. There is a pair of his
vases in the Victoria and Albert Museum, and Mr. Herbert Eccles
MIXTOXS.
Copy of old Sevres Vase " Duplessis," the pair being en suite with the Vaisseaii
a Mai. The groundwork is a production of the ccleljrated " pommeverle" of the
old Sevres in its finest period.
of Neath has formed a collection of his work from the earliest to

his latest endeavour, and many of his specimens are of re-
JAt markable beauty. Early Minton pieces of Solon's work
'•^^^ from
1870 to 1873 bear his monogram I^.M.S., and later
ones are incised or painted L. Solon. The monogram mark will
also be found in the list of Sevres decorators {(/.v.).

MODEKN 43
Within the last twenty-five or thirty years Mintons have made
an ex-ceilent reproduction of the vicux pate tnidre (see MiNTON),
MINTONS.
Copy of the old Sevres I'aisseaii <) 3/iz/. One of the original pieces is in the collection
of his late Majesty, King Edward X'll., another was possessed by the late Baron Ferdinand
de Rothschild, and there is a set in the Wallace collection. Copies have been made by
Mintons, both for Messrs. Morllock & Goode, the originals being lent for the purpose.
due to the late Mr. C. M. Campbell's enterprise, and the turquoise

blue which this paste is capable of taking is nearly equal to the
colour it is meant to imitate.
-
44 MODERN
The reproductions of the famous Sîvres ganiif/nrs de cheiiiiiie'es
— Mat and Candelabra formed of elephant heads
the Vaisseau a —
which are illustrated on pp. 42, 43, are good examples of their kind.
It not infrequently happens that some of Minton's work bears
IlENRV DOULTON & CO., LAMBETH

Vase, Ijy Miss Hannah Barlow. The A Jug, by Mr. (leorge Tinuorth.
ground of the body of the vase is in the The design drawn with a sharp instru-
natural colour of the clay, the animals ment which forms a burr on either
being scratched on the surface and colour edge, and thus keeps the various
rubbed in. This colouring is done under colours inore sharply defined. The
the artist's direclion. " dotting" process done afterwards.
the mark of the firms for whom the order was executed, such as
Mortlock's, Goode's, or Daniell's, in addition to the "Globe " and
the word " MiXTONS."
Of Copeland's ceramic statuary or " Parian," of Wedgwood's
jasper and Queen's ware, and their recently revived manufacture
of porcelain, there is mention elsewhere.
Among English potters who in niodcin times have made
great strides in the development of the artistic departments of
their productions is the eminent lirm of the Doultons of Lambeth.
MODERN 45
The moulded terra-cotta ornament which has produced

this firm
has, from its suitabihty to our English climate and atmosphere,

made its distinct mark in the architectural enrichment of our
buildings. The effective fascia
of Heath's hat establishment in
Oxford Street is, perhaps, one
of the most striking instances of
this kind of ornament. Their
pottery in revival of the old
German stoneware, and their
different kinds of faience, are
duly noticed under LAMBETH
in Chapter VII.
To the leading houses just
named may be added the new
Derby Porcelain Factory (see
Derby), established some years
ago, the Coalport China Com-
pany, and many other firms in
Staffordshire, including Maw &
Son for majolica, Jones & Co.
for a kind of pale sur pate
decoration, the Watcombe Co.
for terra-cotta, and numerous
minor manufacturers, too nu-
merous to mention.
There are two firms of much
smaller than the
proportions
above, that review of
in a
modern English pottery deserve
mention —
Mr. de Morgan for
his lustred pottery, and the
Brothers Martin for their ex-
cellent " Martin " ware. (See Specimen of Belleek.
notices in Chapter VII.) made for H.M. the late King
Ice Pail
Edward VII. when Prince of Wales.
The Irish factory at Belleek,
which did some excellent work
fifty years ago, and was well patronised by our Royal Family,
has made a reputation for the shell-like character of its pro-

ductions.
In the enormous district of North Staffordshire, comprising
some ten square miles of potteries, all sorts and kinds of ornamental
46 MODERN
and useful pottery and porcelain of more or less excellence arc
produced, but a great many do not come within the scheme and
purpose of this book. Many of them reflect, in forms and de-
coration, the passing fashion or fancy of the day, and, generally
speaking, aim at effect and cheapness rather than higher qualities.
Of a great number of these Staffordshire firms the reader will
find some notice in the large edition of Chaffers' Marks and
Monograms.
A most interesting collection of specimens of modern English
porcelain is on view at the Victoria and Albert Museum.
One great feature of our modern English school, recently
developed, is that of plaque painting, the large and moderately
level surface giving ample scope to the artist. Many of these
are excellent specimens of ceramic art, and vie with the water-
colour drawing for a space on the wall ;
framed as a picture, or
forming the centre-piece of some etagere, they take an important
part in mural decoration.
In forming a collection of porcelain it wt)uld be worth the
collector's trouble and attention to add a few specimens of such
modern productions of the different factories as demonstrate the
best points of modern work. This would be done most success-
fully by making a careful selection from exhibition pieces, which
are the tours dc force of the various manufactories.
A passing allusion to the recent progress of ceramics in the
United States may be made in this chapter, although the manu-
facture of both pottery or earthenware and of porcelain is no
novelty in America. Mr. Chaffers quotes from a newspaper of so
long ago as 1766, that a gold medal was presented in that year by
the Society for the Encouragement of Arts, Manufactures, and
Commerce, to a Mr. Sannic! Bowcn for his useful observations in
China and industrious application of them in Georgia.
We know, too, from Josiah Wedgwood's correspondence that
he at one time feared that the native manufacture of ware similar
to that which he was exporting to the States would injure his
trade, and in the earlier history of our English factories of Bow,
Chelsea, and Plymouth, suitable clays were imported from South
Carolina, Georgia, and Florida. The prohibitive duties imposed
by the United States Government upon foreign (lottery, fostered
an industry for which the materials were abundant, and as the
services of some of our I^vnglish potters were obtained, factories
were established in several American States.
Richard Champion, the founder of the famous Bristol factory,
MODERN 47
emigrated in 1784, and died nine years afterwards in the new

country.
The oldest American pottery, which is still a prosperons and
extensive business, is that of Hews & Co., in Nortii Cambridge,
Massachusetts, which was established so long ago as 1765. Our
English readers who are interested in this' branch of the subject
will lind information as to the early American potteries in a
book recently published entitled China Collecliiig in yUncrica, by
Alice Morse Earle.
It is, however, with the modern productions that we are
concerned in this chapter, and from specimens which have been
submitted to the author, would seem to be, generally
these
speaking, imitations of someFrench decorative pottery, or
of the
of models imported from Staffordshire and Worcester. When the
author was at the latter place about ten years ago, he was in-
formed that several of the workmen had been induced by the
prospect of higher wages to leave the Worcester works and obtain
employment at one of the American factories, wliere they repro-
duce the kind of ware most in demand by the American buyer.
In the International Exhibition of Philadelphia in 1876, there
were several exhibits of native ceramics, including terra-cotta and
stoneware. In the World's Fair at Chicago in 1893, a mark
was put on some modern Worcester porcelain which will in time
to come puzzle the expert —
the letter C underneath the usual trade
mark. This denotes china made for the last great Exhibition at
Chicago.
The modern work of China and Japan is chiefly the pro-
duction of an enormous quantity of ornamental ware for the
European market. Most of this is made at a wonderfully
small cost, and is effective and cheap, so cheap that one is
astounded that skilled labour can be employed for so small a
remuneration. In some cases, as for instance the pottery made
in self-colour, such as sang dc bceuf, turquoise, brown, and other
colours, it approaches the older specimens. Some of the " blue
and white " will pass muster with the old pieces, and the author
has often seen modern imitations of the old green enamelled
or faniille vcrte description which required more than a cursory
glance to determine their age but, as a general rule, the modern
;
Chinese and Japanese pottery and porcelain are valuable only

from a furnishing and decorating point of view.
The craze for things Japanese, which set in some twenty years
ago, has had no little influence upon the taste in our own English
48 MODERN
ceramics. Many of the designs executed at the Royal Worcester
Works bear witness of this.
A quotation from one of Mr. Gladstone's speeches, at the
opening of a museum, conveys, in the excellent language of
which he was so eminent a master, a suggestion which bears
admirably upon this branch of our subject, namely, that more
individual must be taken in modern work if it is to
interest
compare favourably with the work of those extinct
at all
factories whose specimens we now prize so highly.

" I apprehend you will agree with me that, in all the visible
and material objects that are produced to meet the wants and
tastes of man, there are two things to look to one is utility, :
and the other is beauty. Well now, utility of course includes

strength, accuracy of form, convenience, and so forth. 1 do
not enter into detail. I only want to remind you that, besides
the utility of these objects which are made to meet our common
wants of every possible description, there is an important con-
sideration in their beauty, which also divides itself into various
branches, on which I need not dwell in detail beauty of form, —
beauty of colour, and beauty of proportion. ... I am going
to give an opinion which, from my sense of duty and from a
long experience in public life —
which has placed me very much
in relation to the great industries of the country has been —
originally suggested and long ago formed in my mind, namely,
that an Englishman is a marvellous man in business produc-
tion when he is put under pressure, but, if he is not put under
pressure, he is apt to grow relaxed and careless, and is satis-
fied if he can produce things that will sell. He has not
got as much as he ought to have of the love of excellence
for its own sake. Now, there are those who will say it
is a very visionary idea to promote a love of excellence for

its own sake, but I hold it is not visionary at all for, de- ;
pend upon every excellence that is real, whether it relates

it,
to utility or beauty, has got its price, its value in the market.
. . .
sculpture,
When we come to
and architecture — in
touch upon what
this
is material
country, there
—
is
painting,
no de-
ficiency in the English people in their sense of beauty. What
there is — —
what there has been seems to be some deficiency
in the quality or habit which connects the sense of beauty
with the production of works of utility. Now, these two things
are quite distinct. In the oldest times of human history,
among the Greeks there was no separation whatever no gap —
MODERN 49
wliatever —
between the idea of beauty and the idea of utility.
Wh;itever the Greek produced in ancient days, he made as
useful as he could, and, at the same time, accordingly it lay
with him to make it as beautiful as he could. ... If we take
porcelain, a similar improvement has taken place. Anybody
who is familiar with tea, coffee, and dinner services of forty
or fifty years ago, supposing he had been asleep during those
fifty years, and that he awoke to-day and went to the best
shops and repositories to observe the character of the manu-
factures that are offered for sale, he would think he had passed
into another world, so entirely different are they, and so far
superior to what was produced in the time of one generation,
and especially two generations back. We want to carry
. . .
this work of improvement to such a condition that it shall

not depend upon the spirit of enterprise of this or that master,
of this or that —
workshop or factory, we want to get it into
the mind, and and heart, and feeling of the working-
brain,
men. That is what we want. There are difficulties in
. . .
the way, and one very great difficulty I cannot deny yet the ;
difficulty arises from what is now absolutely inseparable from

the system of modern production, namely, the division of
labour, which confines a workman to some one, perhaps a
comparatively trifling, portion of the manipulation of the thing
he produces, and naturally diminishes his interest in it as a
whole. I do not deny that that is a difficulty. We are told
that it takes I don't know how many people to make a pin ;
and, probably, the man who has to shape the head of the pin
does not care much about the goodness, neatness, and efficiency
of the pin as a whole. I can understand that this is an
obstacle and a difficulty, but, at the same time, it is a diffi-
culty which can be overcome, and there is no reason why we
should extinguish the feeling 1 now describe. Labour is not
always so divided as it is in this. In many of the great in-
dustries there is plenty of room for this appreciation of beauty.
—
A great many people for instance, those who are engaged in
—
moulding earthenware are concerned directly in that which
must be beautiful or the reverse. We must not expect too
much ; we must not look for miracles, but what we may
reasonably look for is progress —
progress in the adoption of
principles recommended, not merely by theory, or by some
apparently plausible grounds of reason, but by the surest in-
vestigation we can make, as well by the surest testimony of
D
so MODERN
long experience, which show that to unite all forms of beauty,
all varied qualities of beauty, with different characteristics that
make up utility in industrial productions, is the true way to the
success of our national enterprise and commerce."
Itseems fitting to end this chapter with some notes upon

the latestendeavour of English potters, as exemplified at the
Brussels Universal Exhibition of 1910. This branch of industry
showed to great advantage, and was the pride of the British
section. The Royal Worcester Porcelain Company was unrepre-
sented, but with that exception nearly all the leading manufacturers
provided representative exhibits. Mintons, Josiah Wedgwood and
Sons, and Doulton showed that they had maintained their high
standard of excellence. The work of Couldon (the successors of
Brown, Westhead, More & Co.), the Crown Staffordshire Porce-
lain Co., George L. Ashworth & Sons of Hanley, and other firms
proved that a marked progress in the manufacture of ornamental
and domestic china had been made but the surprise of the
;
Exhibition was the great advance in quality of artistic pottery

made in England, as evidenced by the beautiful exhibits of
Bernard Moore of Stoke-on-Trent, W. Hovvson Taylor of
Smethick near Birmingham, the Pilkington Tile and Pottery
Company of Manchester, the Ashby Potters' Guild of Burton-
on-Trent, W. L. Baron of Barnstaple, James Mackintyre of
Burslem, Lovatt of Langley near Nottingham, and others.
One cannot praise too highly the exhibits of some of these
potters, and collectors who include specimens of modern work
should certainly secure examples. We particularly recommend
the tlambe pottery of Bernard Moore, the " Ruskin "ware of
W. Howson Taylor, and the " I.ancastrian " pottery made by
Pilkington's under the direction of Mr. William Burton, who
has contributed so much to the literature of Ceramics. These
wares are all well potted, made of good body, and the reproduc-
tion of so many of the old flambe colours and glazes of K'ang-
hsi porcelain, with the introduction of iris tints and colour ex-
pressions new to the Art, indicate a Renaissance of the potter's
art in F^nglaiid.
Booth's " Silicon china " is too clever an imitation of the
old apple-green Worcester to elicit more than a modified word
of praise from an admirer of the genuine article. William Henry
Goss's armorial decoration of miniature articles of porcelain is
MODERN SI
a well-known specialitc, the useful shown by the

stone china
Haiiley potters was satisfactory, and on the whole.* one could
not but feel that the Ceramic branch of Industrial Art in England
is more than maintaining its position in the competition of
nations.
A down Derby cup, cover, and saucer.

CHAPTER V
IDint0 anti Caution0 to Collectors
HE following hints and cautions to collectors

of old china are offered with much diffi-
and some hesitation, because the

dence
author is well aware that many who consult
these pages are well able to judge for them-
selves in what form, and to what extent,
they prefer to gratify their hobby, without
any such assistance as he is able to offer.
On the other hand, he is encouraged by
the quantity of complimentary letters and verbal thanks which he
has received from some of those who have acted upon the sugges-
tions which, in a chapter under the same heading, appeared in
the small handbook first published over twenty years ago. This
chapter has therefore been somewhat extended and amplified for
the guidance of those only who require such assistance.
For mill i^ a Collection.
To begin with, let us for a moment define what we mean by

forming a collection of old china. It is not the purchase of a
great number of expensive specimens ; it does not necessarily
mean the expenditure of a large sum
money. As a general
of
rule, noteworthy collections have been those carefully, gradually,
and patiently formed, by men of comparatively small means.
To colled in the sense that we mean, every specimen should
be purchased systematically, and should ho. an example of some
particular vicissitude or change in the procedure of the factory
ox fahriqHc of which the specimen is the jiroduct or one which ;
can be identified as the work of an individual artist known to

have been employed at such factory. What are sometimes aptly
called " link " specimens are precious in the eyes of the genuine
HINTS AND CAUTIONS TO COLLECTORS 53
collector,not for their beauty or for their intrinsic value, but
because they assist him to complete his series of specimens, show-
ing the progress from the first attempt, through phases of im-
provement, to the summit of success he perhaps adds to these
;
one or two later pieces showing retrogression and decadence.

Let us an example by taking as an illustration the
give
collection ofDresden china. In such a collection there
old
should be (i) some specimens of the early red polished ware made
by Buttger about 1709, then his partly gilded and more orna-
mented ware, and that glazed by chemically prepared flux, as an
improvement upon the earlier pieces polished by the lathe. (2)
Sparsely decorated pieces of white china, gilt by the goldsmith's
process, and with flowers or figures copied from pieces of Oriental
porcelain, and having the first mark of a caduceus or rod of
yEsculapius. (3) Then some of the specimens very difficult but still
i.e. Oriental, but
possible to find, of similar decoration as to style,
having ground colours, maroon, yellow, blue or mauve, and marked
with the A.K., the monogram of the king-elector Augustus II.
of Saxony. (4) Some portions of those early services with
quaintly formed tea-pots and Chinese-shaped cups and saucers,
having the marks K.P.F., K.P.M., and similar letters, all of
which will be found in the marks under the notice of Dresden
in Chapter VII. A reference to that notice will save reitera-
tion here. Specimens of old Saxony (Meissen) porcelain figures,
groups, services, vases, and other varieties, should be collected,
so as to show a sequence of the different periods of the factory,
from the early times which we have just alluded to, through
those of Joachim Handler, Acier Heroldt, The Kings Period,
Marcolini, and so on to some modern representative specimens.
This series should demonstrate the differences of treatment which
successive directors of the factory have left as a record of the
periods of their work.
The famous collection of old Dresden china formed by the
Hon. W. F. B. Massey Mainwaring, which was in May 1899
sold to Mr. King for a very large sum, contains specimens of the
different periods alluded to but it also contains a great many
;
important and valuable examples of each period, whereas it would

be possible to select from such a collection all the specimens
necessary to form an excellent representative collection, for perhaps
less than a tenth part of the sum at which Mr. Mainwaring's china
was valued.
These remarks will apply to all other factories.
;
54 HINTS AND CAUTIONS TO COLLECTORS
Public Collections in Museums.

The collections in our different museums are excellent for refer-
ence purposes, and although it is aggravating to be obliged in
many instances to be content with looking at the specimens
through the glass sides of cases, without handling them, still a
great deal may be learnt from the systematic study of these
public exhibits.
There should be some method employed in looking at speci-
mens in a museum, and if the reader wishes to get the full benefit
of such an object-lesson, let him go there with the fixed deter-
mination of studying one particular kind of specimen at each visit,
and not be beguiled into a general walk through, and a cursory
consideration of the whole.
If he be a student of the different kinds of majolica, there is
the Salting collection in the Victoria and Albert Museum ; there

is also the national collection of the same ware arranged in
different cases same museum there are others in the
of the ;
British Museum, and the late Drury Fortnum's recent bequest to

the Ashmolean Museum, Oxford. If majolica is to be studied,
and its different characteristics noted, one must not allow the
many other charming and interesting objects to distract the
attention.
The best school for the study of specimens of the various
Continental factories is undoubtedly the " Franks " collection at
present exhibited in some six or seven glass cases in the gallery of
the Bethnal Green Museum, but which is to be removed to the
British Museum when the alterations and enlargements of that
institution are completed. Sir A. W. Franks has prepared an
admirable descriptive catalogue of this valuable collection, which
is sold at the Museum for the price of a shilling, and equipped
with this, the amateur will be able to learn a great deal by careful
reference and attention.
For Continental porcelain the amateur should also carefully
study the cases of specimens in the Ceramic gallery of the Victoria
and Albert Museum, where the labels are fairly descriptive
though it seems a great pity that, while the authorities have taken
the pains to give particulars of sizes and subjects, they should
omit in so many instances the name of the factory to which the
example belongs. No doubt the gold lettering referring to the
contents, which is placed outside the case, is intended to guide
the visitor, but this is too vague and it is to be hoped that in
;
any future arrangement either the articles will be iabeiled with

the name of tiie factory, or only specimens of the one factory to
which any particular glass case has been hypothecated will be
placed therein. Such a description as "French pdtc leudrc" is
far too vague for the ordinary amateur. The expert can, of
course, see that the contents include specimens of Chantilly,
Meneyy, Sceaux-Penthievre, and St. Cloud, but there is no label
to tell him which factory the different pieces represent. A
similar criticism is by the case which
suggested is lettered
" Bristol, Plymouth and Longton Hall."
The recent presentation of a collection of soft paste porcelain,
by Mr. Fitzhenry, has materially added to the value of this
Museum from the point of view of the collector of old porcelain.
The amateur who desires to acquire knowledge about the earlier
English china factories will find in the large and valuable col-
lection bequeathed many years ago by Lady Charlotte Schreiber
a wide field of education, and many examples contained in these
cases will be found to bear the characteristics of the diiTerent
factories which have been noticed in the seventh chapter of this
book. If the reader has a natural aptitude for the subject and
is quick and intelligent, he will soon learn to recognise many of
the " points," which he will find therein noted.

Besides the Schreiber collection of English china and Battersea
enamels, there are some other bequests and loans which are
interesting, and the miscellaneous assemblages of old English
pottery which our museum authorities have purchased from time
to time contain many examples of the work of Ralph and Enoch
Wood and other Staffordshire eighteenth-century potters, besides
many pieces of Bristol Delft, " Toft " or slip-decorated ware,
some excellent salt glaze, and a great many other examples very
useful for reference.
In the previous edition of this book, the Geological Museum
in Jermyn Street, which was seldom was recommended
visited,
for the small but instructive collection of English pottery and
porcelain which it contained, but this has now been removed
to the larger institution at South Kensington.
There is still, however, on sale in Jermyn Street a catalogue of
the collection which contains much useful information.
The collection of English pottery and porcelain in the British
Museum has been recently rearranged to great advantage the ;
labels are full and descriptive, and have in a great many cases
facsimiles of the marks which the specimens bear. No collector
should omit to carefully study this excellent collection, which con-
tains not only valuable and important pieces such as the famous
"Foundling" vases, and others of great price, but — what is infinitely
more instructive — a great number of experimental and " link "
specimens which will serve as object-lessons, illustrating and
emphasising many of the remarks made on English ceramic
factories in Chapter VII. The greater part of this national
possession was the gift of the late curator. Sir Wollaston Franks,
a man of very wide knowledge and keen enthusiasm, and his
generosity has been supplemented by many other gifts and
bequests. The trustees have also published a useful guide,
written by Mr. R. L. Hobson, which gives much information
about the different factories, and, as it is sold in the Museum at
the modest price of one shilling and is fully illustrated, the collector
should add it to his reference library.
Then we have in the Jones bequest (Victoria and Albert
Museum) charming specimens of the more valuable kinds of
Sevres and Chelsea, and the Wallace bequest at Hertford House
must be a constant source of pleasure for those who delight in
the beautiful colours of the finest Sevres porcelain, in which this
collection is very rich. At Windsor Castle, too, may be seen the
famous Sevres dessert service made for Louis XVI., and purchased
by George IV., and a great many specimen vases of the best
quality and finest periods of this celebrated factory. There are
also in his Majesty's possession a great many other fine specimens
from other factories. The Earl of Hare wood's fine collection of
Sevres porcelain is also shown to the public, and the visitor
to
Harrogate should not neglect the opportunity of seeing this inter-
esting old Yorkshire residence.
P'or those who would pay particular attention to Oriental
porcelain there is the representative collection purchased by our
Government and now in the Victoria and Albert Museum, also
that formed by Wollaston Franks in the British Museum.
Sir
The truly magnificent collection of Mr. George Salting, bequeathed
to the South Kensington Institution and now rearranged and
classified, is of the highest importance. The same generous
enthusiast has also left us the finest examples of fifteenth and
sixteenth century Italian majolica, and also of Persian and
Rhodian faience which deserve most careful attention.
If the collector of English china should go so far as Worcester,
he will be amply repaid by a careful study of the collection of

"link" specimens formed by the late Mr. R. W. Hinns, F.S.A., in
the museum attached to the Royal Worcester Porcelain Works ;
while at Cardiff he will find an excellent collection of representa-

tive pieces of Swansea and Nantgarw, formed by the valuable
assistance of Mr.
Drane. Many of our provincial museums
contain small but valuable collections of English pottery some ;
of these have been especially alluded to in the notices on factories

in Chapter VII.
Many of our well-known private collectors are only too pleased
to afford the bona fide amateur the pleasure of seeing their collec-
tions, and it has been the writer's pleasure and privilege upon many
occasions to give a letter of introduction from one collector to
another with the result of mutual enjoyment and instruction.
Auctions.
The intending collector should ventilate the subject by con-

versation with those of his acquaintance who also have a taste
for collecting he should compare the specimens he sees with any
;
information that these pages may have afforded him, and, where
he can do so, ascertain the prices that have been given for
them.
Ifhe has the leisure, he should stroll into Christie's Rooms,
in King Street, St. James's, to Robinson & Fisher's in the same
street, to Fosters' in Pall Mall, Philips Son & Neale's in Bond
Street, or Sotheby's inWellington Street, Strand, or Knight Frank
and Rutley's, and watch a sale there of some collection to be
dispersed, after having carefully viewed the same the day before,
and made some notes on the catalogue of guesses as to the
prices which in his opinion are likely to be realised by any
pieces he may have examined. These figures will be corrected
at the sale, and much information and some amusement will be
gained. The rooms of these firms of auctioneers are recom-
mended, because here the amateur is safe from the annoyance
of touting commission-agents and, moreover, the articles are
;
clean and well arranged, the attendants civil, and the catalogues
tolerably accurate. The best of specimens find their way at
some time or other under Christie's hammer, and the collector
can examine them in their spacious rooms in a way which is
not possible in a museum.
Personal purchases at auction sales are not recommended for
several reasons one buys under a certain amount of excitement
:
and in haste, very often to repent at leisure being dis- ;
appointed by not getting a specimen which would have been

useful in the collection, one is led to bid for, and probably buj',
others which are not prudent purchases. Better far to note who
it is that buys the coveted lot, he be a dealer, make terms
and if
with him for a moderate profit, or ask him to procure, as

occasion offers, another similar specimen. The writer knows
many collections, good, bad, and indifferent, and in those which
he would select as being examples of well-formed and satisfactory
collections, specimens have rarely been purchased directly under
the hammer, but have been bought deliberately and quietly from
the dealer. Another great advantage of purchasing from the
dealer is that exchanges of unsatisfactory specimens can be
arranged, whereas a sale bargain cannot as a rule be altered with-
out loss and trouble. If, however, the collector prefers to make
his selections from goods offered at auction, he should seek the

—
advice and assistance of a reliable dealer^ the reader may rest
—
assured that there are many such -who will inspect the collection
with him on the view day, assist him to make his choice, and advise
as to value. The usual commission charged is five per cent, of the
amount of the purchase money, which includes clearance and
delivery, unless the articles are bulky or packing is necessary. It
is advisable always to employ the same dealer, and under no con-
sideration to be induced to vary one's patronage by giving

commissions one day to one man and another day to another.
The reason for this should be obvious in the first place, if the
;
dealer feels that he possesses his client's confidence he will respect

and not abuse it, and will give much valuable advice but ;
being subject to human frailties, it is only natural that he will

feel aggrieved if he sees a rival bidding for a client in whom,
rightly or wrongly, he feels he has a kind of vested interest, and
he may by a few competitive bids considerably increase the cost
of the desired specimens.
Again, if the business be given, so far as circumstances permit,
to the same man, he will be patient when, as must frequently
happen, his attendance at a sale on his client's behalf results
either in a trifling commission or none at all, in consequence of
the prices ruling so high that his limits are exceeded. There are
of course auctions and auctions, and a dealer of good reputation
who accustomed to the sale-room will be in a position to
is
warn his client against those which for some good reasons are
better avoided.
Guaranteed Invoices.
As judj^ment is almost unconsciously acquireci, the collector

should venture into the show-rooms of a respectable dealer, to
whom he has been recommended by a reliable " old stager," and,
as all the best dealers are men of intelligence, he will gain much
information in conversation with him about the, objects offered
for sale. Cash payments are advised, with the object of securing
any advantage for ready money and in each case, however
;
trifling, the buyer should insist on a proper description being written
on the invoice, the law of warranty being that verbal descriptions

can often be denied and set aside, while the written one, if
founded on an error or a deception, entitles the aggrieved buyer
to recovery of the price paid. This invoice forms a kind of
guarantee, and is one that no honest tradesman will object to
giving. The safeguard is a very simple one and easily taken ;
and, moreover, if the collector cares to enter in a hook kept for

the purpose the description and cost of each specimen acquired
(an excellent plan), such an invoice will form a useful reference.
Subsequently, if the collection grows, and he should make a
catalogue of his specimens, this book will save him a great deal
of trouble. The precaution of having a descriptive invoice is
very often neglected, and in more than half the cases of decep-
tion and consequent disappointment, in which the writer has
been consulted, the money could have been recovered without
legal process by its adoption.
*
Standard of Excellence.
In acquiring a collectionit is necessary to have some standard
of excellence, below which no specimen should be purchased,

whatever the bargain, unless in very exceptional cases ; as, for in-
stance, in the case of a particularly rare mark. In such instances
the quality of decoration of the specimen may not warrant its
"
purchase, but low price will allow of an ultimate " weeding
its
should a better specimen be secured. Except in such cases as

these, it is one of the greatest mistakes that a young collector
can make, to buy second and third rate pieces because they are
cheap. In the same way, but also subject to similar exceptions,
imperfect and restored specimens should be avoided.
However small the collection, let it be good and perfect as far
as it goes. By the prudent expenditure of a sum that can be
6o HINTS AND CAUTIONS TO COLLECTORS
spared each year, not only will the collection be gradually in-
creased, but a fairly profitable investment, in a pecuniary sense,
will be secured.
A dealer's stock of old porcelain, say of _^ 10,000 value, will
consist of specimens good, bad, and indifferent, to meet the
requirements of his varied customers— the buyer who is fond of
show and effect, the one with a passion for bargains, and the care-
ful collector. Now, if the latter were from time to time to pick
out the best specimens, and keep them in his cabinets, adding
again and again, with taste and judgment, until he had spent
the same amount as that at which we have (êxempli gratia)
valued our dealer's stock, his collection would, if brought
to the hammer, be one much more valuable, because compara-
tively complete of its kind. Moreover, as the dealer would have
parted with his best pieces as he bought them, while the collector
would have held them, waiting until worthy companions offered
themselves, it must be seen at a glance how the judicious amateur
can afford the dealer's profit, and still have many advantages.
To buy successfully, then, every specimen acquired should be
examined as to the quality of its paste, modelling, shape, colour,
and special characteristics as a specimen of its particular factory.
The points in judging decoration are the drawing of the figures
if a subject, the natural effect of flowers or fruit, or the " dis-
tance " and softness of a landscape, and the " tone " and solidity
of the gilding —
in fact, the work should be examined and judged
in much the same fashion as any other article that one is ac-
customed to buy upon its merits. Then, if the result of this
examination be satisfactory, the question of price is the important
consideration, and this, of course, is a matter that must be left
to be arranged between buyer and seller, only with the caution
that the price should not tempt one to the acquisition of a speci-
men not desirable on its merits.
To write a list of rules and regulations to be observed in
making selections, with and securing
a view to detecting fraud,
only the genuine specimens, is simply impossible, and an attempt
to do so would confuse and mislead. Individual taste is most
essential, and unless the amateur have this, he will hardly acquire
judgment.
The interest, however, that we take in any favourite pursuit
brings us in contact with kindred spirits, and it is by con-
versing on our hobbies, and by taking every opportunity of
seeing collections and making comparisons, that a judgment
HINTS AND CAUTIONS TO COLLECTORS 6i
may be formed. By observation and practice the

constant
amateur will soon be acquainted with the different
well
characteristics of each factory, he will be able to name this or
that specimen without reference to the mark, just as an expert
can recognise the touch and style of a certain master in a paint-
ing, without seeing the signature.
One word here as to judgment of quality. The fact is, that
the knowledge of ceramics requisite for a collector is not nearly
so technical as is generally supposed. That which is true of a
fine picture, a bronze, or a cabinet, is also true of a china figure,
a vase, or a cup and saucer. Spirited modelling, telling colour,
and that indescribable something that may be termed "character,"
are the points that make the merit apparent.
Common Errors.
It seems almost unnecessary to point out puerile and Hagrant

errors, but one is frequently reminded that they not uncom-
monly occur. This is not a chapter of personal reminiscences,
and the author has no desire to inflict them upon the patient
reader, but the curious questions that are sometimes asked by
discursive correspondents and thoughtless inquirers are amusing
enough for recital.
Not long ago some executors of an old lady consulted the
author upon the value of an " Elizabethan " vase, which was
highly esteemed by the late owner and her friends. After a long
journey into Gloucestershire this turned out to be a cream-coloured
Leeds ivare basket dish of very slight value, and, as the notice of the
Leeds factory will mention, only about a hundred years old. So
convinced, however, were members of the family of the authen-
ticity of this "Tudor" relic that, at the sale by auction of the
old lady's effects, this basket-shaped dish, worth a few shillings,
realised fifty guineas, and received the honour of a special
paragraph in the local newspaper.
At a sale by auction not long ago a bowl of Le Nove faience
marked " Nove " with a star, was soberly described by the local
auctioneer as a rare specimen of Hove (Brighton) porcelain.
At Christie's one day a set of Eveutail [i.e. " fan-shaped ") Sevres
vases was sold for a large price, some 6000 guineas. They
were, with other articles of Sevres china, under that heading in
the catalogue, but the words " Sevres " was not repeated before the
description of each article. A gentleman, who shall be nameless.
but who was one of our legislators, asked the writer why Eventail
china was so valuable, and if he had any specimens of that factory ?
Then one is constantly asked to say to which factory the " Bee-
hive " mark belongs, the inquirer having looked at the Austrian
shield on a piece of Vienna china upside doivu.
Again, how often does one hear the owner of a piece of
Dresden, of the Marcolini, or perhaps Heroldt period, positively
aftirm the said specimen to have been " family property " for at
least two hundred years, and his astonishment almost amounts to
incredulity, when he is informed that the Dresden factory was
not established before 1709, and that the piece in question was
made some fifty or sixty years later !
Again, one is shown a piece marked with the A.R., and

gravely informed that it is the monogram of Augustus Rex, for
whose private use it was made " ever so many years ago " whereas ;
the mark though certainly used for a very few pieces

in question,
by the Royal works, is very rarely found, but has been adopted
as the regular trading-mark of a china manufactory in the hands
of a private firm, which has a warehouse in Dresden, and until
prevented by recent legislation, already alluded to in another
chapter, turned out several thousand specimens annually with this
mark.
At the risk of repetition one may add here what has already
been indicated in the notice on the Dresden factory in Chapter
VII., that the genuine A.R. mark is never found upon china
decorated with Watteau or Wouvermann figures, but only upon
the very early and rare specimens, the decoration of which is
copied from the old Chinese porcelain, that is, either painted with
some flowers of an Oriental character, or with a subject from a
Chinese original.
It may be as well to mention, while the subject of deceptive
marks is being noticed, that the registration by the Royal manu-

some years ago, of
factory, their fabriqiie marks has consider-
ably reduced thenumber of forgeries ; and now, many of the
French and some English factories, that formerly used the
crossed swords, are reduced either to a shuffling mark that only
the most careless could mistake, or else to an altogether distinct
device.
The " Merchandise Marks Act " has also been of great benefit
in limiting the amount of fraudulently marked china, as under
the present administration of the law it is a criminal act to expose
for sale any china bearing a forged mark. This Act of Farlia-
ment only applies to such marks as have been registered as trade

marks, and therefore does not protect the amateur from a great
many forgeries. It has only been applied, so far as the author
knows, to the cases of forgeries of Dresden and Worcester china.
The French are also exceedingly clever in their imitation of
fine old Oriental, and in some cases a judge may be quite puzzled,
especially if the pieces are surrounded
by circumstances that
seem to give them a good character, say a position on the
mantelpiece of an old country farmhouse, or an apparently
fortunate discovery in some hole and corner of a dealer's shop
covered with dust that seems in itself a symbol of antiquity. The
principal differences are the lack of brilliancy in colour, and of a
peculiar tint of the ^' pate," both of which are distinctive of genuine
old Oriental.
In the case of specimens of a kind which are in particular
demand by collectors, such as the ruby-backed plates of the
Yung-cheng period, the author has seenFrench imitations so
skilfully decorated that without handling and carefully examining
the paste, it is really impossible to detect the imitation. These
plates, when genuine, are worth about _^20 to £t,o each, and
therefore the forger can afford to expend a good deal in the
minute attention to detail.
There are also some extremely clever imitations of fine
Oriental made in Hungary, and unfortunately the Chinese potters
themselves are busily engaged in reproducing their best kinds and
periods of old porcelain and forging the old marks.
The imitations also of Palissy and Henri II. ware are very
common and of two sorts the one so thick and clumsy as to
:
deceive no careful buyer, and the other very fine and light in its
character and requiring much caution to detect.
In making purchases of pieces where colour is one of the prin-
cipal features, as in the case of old Sevres, the collector is cautioned
against buying by gaslight. To the modelling of a figure or the
shape of a vase, the artificial light is immaterial, but the turquoise,
which should be delicate and beautiful, if of the veritable pate
tendre, may turn out in the morning to have owed its apparent
merit to the quality of the light.
Spurious Lowestoft.
The market has been flooded with French china, decorated

with coats of arms, and with the kind of flower painting which
has become associated in the pubHc mind with " Lowestoft." If
the reader will refer to the notice of that factory, he will see that
the vast majority of so-called Lowestoft, when it is old china, is
really Chinese, and the kind of productions now referred to are
really more in imitation of this " Oriental Lowestoft " than of the
real Lowestoft, which would probably not be sufhciently decorative
to appeal to the novice. It is, however, so absurd to see these
Paris imitations of Chinese m.ugs, plates, bowls and cups and

saucers, painted with large roses and having crests and coats of
arms labelled " Lowestoft," that this caution has been thought
necessary.
Detecting Restorations.
The writer has found the best method of testing restorations

to be that of just touching any of the suspected portions with the
edge of a coin. The china will always give a certain ring though
tapped quite gently, but the same touch upon the composition
returns a dead wooden sound.
This test, of course, will not apply to those restorations which
have been made in real porcelain, but upon a careful examination
of suspected places with a magnifying glass, one can discover the
texture of the paint where the join has been effected. The test
of smell is also a useful one. As a rule, when the restoration is
concealed by freshly used paint, one can detect the same by

smelling, and when the work has been done a sufficiently long
time for the smell to have disappeared, the white lead with which
white paint must be mixed will have commenced to discolour.
When selecting a specimen of rarity and great age, and one of
such a fragile character as a group of several figures, slight and
reasonable restorations must be expected and pardoned. It is
almost impossible to obtain absolutely intact groups and figures

when the limbs and fingers are in exposed positions, but still one
likes to know how much of the specimen has been restored, and
then it can be decided whether it is desiiable or not to add it to
the collection.
Old Sevres and i/s liiiilalions.
Without doubt, one of the most dillicult lessons to learn is to

detect the difference between the beautiful and valuable soft paste,
or pate tcndre, of old Sevres, and the pale dure of more recent manu-
facture. After the production of the pale temire was discontinued,
on account of the superior durability of hard paste, the art of

making it was lost. Old pdtc leiidre is beautifully white (to
examine the paste, undecorated portions of the specimen should
be scrutinised), and has a surface something like that of a cream
cheese, —a soft, impressionable appearance. The colour, too,
and painting appear part and parcel of the " body," and not
added superficially, as the appearance of the hard paste suggests.
The colouring is thus beautifully soft, and blended with the
" body," while the vitreous, glassy effect of hard paste is absent.
The soft paste now made in Tournay and decorated in Paris,
which bears the Sevres marks, and is generally known as Sevres,
though sometimes excellent in decoration, and having some of
the characteristics described, lacks the beautiful whiteness of the
old china, the paste being of a greyish hue. The turquoise
is of a much greener
colour of this kind of imitation of old Sevres
tint than the real turquoise, which can only be produced on soft
paste. The dark blue or gros bleu of modern productions is
much more successful.
Unless the collector has had considerable experience he should
be very suspicious of Sevres china if the specimen be one of
any importance. So rare are vases of really old Sevres china
that it is almost safe to say that one could name the majority
of collections in which they are to be found and therefore when
;
one hears of a fine old Sevres vase of gros bleu, turquoise, or rose
dii Barry ground, and painted in subjects, which is in the market
without an undoubted pedigree, it is in all probability one of

the class just alluded to.
The same may be said of all those services painted in por-
traits ofCourt beauties of the time of Louis XV. and Louis XVI.
The only genuine portrait pieces which exist are those which are
in the collections of a few wealthy families, and are of great value.
Imitations of old Sevres china which were made by Mintons
about fifty years ago, and decorated with great skill and care by a
Quaker named Randall, are much more
artist difficult to detect
than the modern French china just alluded to ; and some of the
best Coalport imitations of both Sevres and Chelsea are also
" puzzles," even for the initiated. Therefore, as a general rule,
the amateur should only buy Sevres from a dealer of experience
and reputation, until his eye and touch have been proved.
For a further notice of this Randall and his work, refer-
ence should be made to the notice on the Madeley factory
(Chapter VII.).
E
Redecorated China.
With high prices for richly-decorated specimens of old china,

there must necessarily come, in obedience to the law of supply
and demand, imitations of all kinds. Some of these have been
pointed out in this chapter, but there another kind of pitfall for
is
the young collector, against which he should be warned.

A great many sparsely-decorated pieces of china of different
factories have been enriched by obliterating by means of powerful
acids the little fiower or sprig which formed its very simple
ornamentation, and making the specimen one of richly-coloured
ground with panels or medallions of subjects. In such a case
the paste and the mark on the bottom of the piece will be left
untouched, and therefore the young collector must examine the
decoration carefully.
In redecorated Sevres china, the ground colours will be more
opaque-looking, with the exception of the " rose du Barry " colour,
in which the genuine ground colour is opaque. The name " rose
du Barry " is used here because that is the common term in
England. It should be called Rose Pompadour, as the author has
fully explained in the notice on Sevres in Chapter VII. There
will also be found some signs of retiring in the little black spots
caused by " sputtering " in the second firing. Dresden groups,
which were originally either white, or decorated with very little
colour, have been repainted in this way. Oriental china has been
redecorated to a very large extent, but the redecorating will be
apparent on a careful examination, the enamel colours being less
like enamel and more like paint than upon a perfectly genuine
piece. One can very often see the traces here and there of the
original decoration.
Repairing Broken China.
Perhaps a hint upon repairing breakages may not be out of

place. A simple fracture is easily repaired, and the trouble, risk,
and expense of sending the specimen away to tlic professional
restorer can be avoided.
After the fracture be sure that the edges of the broken china
are not chipped or grated. Then carefully wash the parts in hot
water with some common soda to remove all traces of dirt. In
using seccotine or fish glue bear in mind that only the minutest
quantity is necessary, as the closer the edges are united the

stronger will be the join, and care should also be taken to see
that the two surfaces articulate, and present a perfectly level
surface where the join has been made.
IVashing Old China.
Many lady collectors prefer to wash their own specimens of

old china rather than trust them to a servant. Perhaps the
writer may one or two suggestions. On a large table beside
offer
two bowls filled warm water, the one for washing containing
with
a little common soda (a lump the size of a walnut to a pint of
water), there should be laid a soft cloth for the china to stand on
when washed. It is dangerous to stand a delicate piece on a
marble slab, and the thick, soft cloth will absorb the moisture from
a figure or group. A common painter's brush is the best for
washing china groups and figures, which should be taken hold of
deliberately by grasping a solid part, such as the base or body
of the piece. Accidents generally happen through taking hold of
a specimen nervously and pressing some delicate, exposed, or
fragile part. After being well rinsed in clean water in the second
bowl these more fragile specimens will dry by themselves.
When specimens are worn and scratched, an immense im-
provement in appearance will be effected by the judicious use of
a little extra soda in the water, and then sponging the surface.
Of course this does not remove the scratches, but it takes away the
dirt and discoloration.
Packing.
Sometimes one buys specimens on a journey, and the writer

knows from experience the advantage of being able to pack
delicate specimens so that they will travel safely. If hay or moss
be used it should be first passed through the fingers and all

lumps or hard pieces removed. Plates and saucers, after being
papered up, should be placed in the box edgeivays and not flat.
Groups and figures should have a first protection by the twisting
of soft paper round the projecting arms, legs or foliage, then
made into a package with cotton wool, hay, or moss, and then
these separate packages should be placed in the box and some
hay or moss wedged tightly between each of them. When the
box is unpacked, cut and do not pull the string which has been
used to tie up the packages. Pass the hay through the fingers
to see that no covers or small pieces are left in the packing.
In the short chapter upon imitations and counterfeit marks

which follows, there is unavoidably some reiteration of the re-
marks made here, but at the risk of this it seemed a plan more
convenient to the reader to give some of these marks and notes
thereon under a separate heading.
In these few hints the reader has been assumed to have no
knowledge whatever of the subject, and therefore the more
initiated will doubtless have found much that is tedious but ;
every one having a regard for the potter's Art will forgive this,
in the effort of the writer to assist the young collector, and
prevent some of those disappointments which so often deter him
from following up a fascinating pursuit.
Sauce-boat of Bow porcelain, blue decoration (Victoria and Albert Museum).

CHAPTER VI
ôme Counterfeit anD a3i0leaDing CârkiS
T has been thought that a few notes on

counterfeit marks would be of some interest
to collectors. Now
the works of imitators
vary considerably. There are, in the first
place, a great many specimens of different
factories, which, having been made " to
order " as a " match " for services of
other factories, have had placed on them,
ill-advisedly perhaps, but without any
intention to deceive, the mark of the fabrique of the service so
augmented or recruited. This is frequently seen in the Coal-
port imitations of and Dresden, more rarely in some
Sevres
Derby imitations of Chelsea and Worcester. Occasionally one
had seen the Carl Theodor mark upon a basin or tea-pot obviously
of Derby or Worcester manufacture, and the well-known mark
of the crossed swords of Dresden was copied so frequently
by the early potters of Worcester, Derby, and Bristol, that the
swords are now generally accepted as one of the marks of these
factories.
Then there are the marks of certain small makers who placed
on their products some device indicating their proprietorship, and
as they were but little known, their work after a time came to
be bought and sold as that of some factory to the ware of which
it was similar. There is a curious instance of this
which, so far as the author knows, has never been
published. Services and figures, bearing the curious
initial F in the margin, were really made and decor-
ated by one Frankenheim, the father of a dealer who

died about twenty-five years ago. These specimens
are now so generally accepted everywhere as having been made
at Fiirstenburg that the mark has not been removed from those
of that factory in another portion of this work.
69
70 COUNTERFEIT AND MISLEADING MARKS
Some of the earlier marks of M. Samson, of the Rue Beranger,
Paris, which were discontinued many years ago in favour of
others, have also acquired quite a respectable reputation. One
of thesereproduced in the margin, and is generally passed
is
off as one of the numerous monograms of Paul
ly Hannong of Strasbourg. It is found on groups

^ / f" and figures of a well-glazed faience, and as the
V 2^ pieces are generally well modelled and coloured,
^y and are not the exact imitations of any par-
ticular model, they are now often found in ex-
cellent company, and are described in the catalogues of eminent
auctioneers as " old French faience." This same arch-imitator,
M. Samson, has been responsible for more forgeries of good
marks than any other single maker known to the author.
Besides clever copies of the most valuable descriptions of
Oriental enamelled porcelain, he has made "Dresden," "Chel-
sea," " Crown Derby," " Worcester," " Hochst," and imitations
of almost every factory the marks of which have been in
sufficient demand to create a sale for his wares. It is use-
less to give a list of the marks, because, as he has copied
the genuine ones, they all appear under the regular headings in
Chapter VII.
This applies, of course, to all other copies which bear the
counterfeit marks of may note
the factories imitated, and one
here an ingenious device of some of the German makers. A
paper label, printed " Made in Germany," is securely gummed
over the counterfeit mark to prevent trouble in the Custom
House. This fact was mentioned in evidence a short time ago
in a case at the Marlborough Street Police Court, in which the
author was an expert witness.
Amongst Samson's earlier and more careful works (he has been
dead now for many years, and the work of imitation is carried on by
his descendants) were some original figures of considerable merit.
The mark which he placed on these, although a
colourable imitation of the Dresden mark, had a
distinguishable initial letter, and a bar across the
swords not seen in the genuine Meissen mark. It
is given in the margin. One of the most success-

productions is a set of figures represent-
ful of his
ing the twelve months, cleverly modelled, and delicately coloured,
and but for the fact of their being known by the cognoscenti to
be of recent manufacture, they would have been highly esteemed.
COUNTERFEIT AND MISLEADING MARKS 71
As it was, sets were sold for several times their cost when they
were first placed on the market.
It is difficult to give any rules and signs by which such imi-
tations as Samson's may be detected. Nothing but a careful study

of the peculiarities of paste, glaze, and details of gilding and
decoration can gradually transform an amateur into an " expert,"
but there are some transparent errors which may be pointed out
and easily detected.
The gold anchor of Chelsea is never found on genuine early
specimens of Chelsea, but only on those more highly decorated
specimens made after richer ornamentation by gilding was intro-
duced. Now as, owing to what has been written, there is an
impression that the gold anchor denotes the best quality of
Chelsea, one sees Samson's " gold anchor " on the imitations
of pieces wiiich would have had a small red anchor or probably
no sign but the three rather dirty-looking unglazed patches
(caused by the tripod on which they were baked). His Wor-
cester imitations are glossy-looking and the gilding is very in-
ferior, besides being markedly different in paste and glaze from
the genuine old Worcester.
In order to meet a demand on the part of a certain class of
dealers, he has placed the Crown Derby mark on figures the model
of which was never known at Duesbury's factory, as well as on the
" Falstaffs," the " Seasons," and other well-known Derby models.
Generally speaking, the present imitations of the Samson firm are
inferior to those made some twenty years ago. Perhaps his
greatest success of recent years is his imitation of Battersea
enamel these enamels require careful examination by an expert,
;
but they can be detected by several little signs which the initiated
alone understand.
Another Parisian firm which makes some rather
clever figures, decorated in the style of old Crown
Derby, is that of Bell & Block, whose mark, the
firm's monogram under a crown, is made some-
what in the style of the real Crown Derby mark.
Among the marks of a French maker of imitations, as yet not
V
identifiedby the writer, are thtjse in
the margin they occur on rather
;
ambitious figures and groups, some-

times on figures in costumes of the
Vandyke period, and sometimes on
dy
figures ornamented with lacework. They are not copies of
any particular fabrique, but the specimens are generally palmed
off upon the unwary as old Dresden.
Amongst other imitations of old Dresden marks is that of the
monogram of Augustus Rex, Elector of Saxony, and founder of the
celebrated Meissen factory. This mark, as in the
margin, was adopted some forty years ago by the
firm of " Wolfsohn," in the town of Dresden, as a
trade mark, and for some thirty-five years the royal
factory took no steps to interfere with this manu-
facturer. About twenty years ago, however, a
lengthy lawsuit was commenced to prevent the Dresden house using
as a trade mark the monogram of Augustus Rex, the defence being
that although the State factory had used the monogram on some of
its earliest specimens, the mark had not been made
a regular trade sign, and therefore was open to

_ appropriation. Ultimately the State factory gained
X^ and since then the Dresden house has
the day,
II altered its mark to that in the margin. Its ware is
very often sold as genuine old Dresden to inno-

cent beginners, but to others it passes under the euphonious title
of "Crown Dresden."
This kind of china is useful for decorative purposes,
but has no value in a collector's eyes, although some of the
pieces which are made on the lines of the real old Dresden are
sufficiently well executed to deceive the less experienced collector.
Another of these private Dresden firms was that of Meyers,
afterwards " Meyers und Sohn," which ceased to exist many
years ago. They used to Meissen porcelain
purchase the
undecorated, and sold in the white, on account of some slight
defect either in the glaze or the firing, and have it painted by
their own workmen. They alsohad a mark of
their own, which, like that of Samson described
above, was similar to the Meissen mark, with the
M between the hilts
difference that the initial letter
swords denoted its origin. Several really
of the
good specimens of this class of Dresden have been
sold during the last few years for very substantial
sums. This is due to the fact that a younger generation of dealers
is unacquainted with the facts now published, and as time and
atmosphere have given some patina to work excellent of its kind,

and as the groundwork in many cases is genuine old Meissen
porcelain, it is very difficult to distinguish the modern from the old.
Another producer of so-called " Crown Dresden," named

Haniaan, has a factory in Dresden. His mark, as
given in the margin, differs slightly from the one
given above, in that he has adopted a crown of
another kind. The style of the china ("inferior 'Tv^^Slê-
Dresden ") is much the same.
Wissmanis another Dresden fabricant, who

has adopted and registered the mark in the
margin, the Win the shield being his initial.
The " Dresden " groups and figures made by the present firm
of Thieme are likely to deceive the careless amateur.
His mark is a colourable imitation of the Meissen
mark, the T between the sword-hilts being the initial
of the founder of the firm, who was known to the
author nearly thirty years ago. The productions of
this firm have not improved of late years.
The mark occurs on an imitation Dresden Basket
A^.
with pierced sides, flowers in relief and Cupids y/7\\
painted inside, but the maker is not yet identified.
The reader will probably remember somelitigation in 1909
—
which aroused a good deal of public interest the object of which
was to recover large sums of money, amounting to over ^50,000,
which had been obtained by certain dealers in payment for several
groups of so-called " old Dresden " china. Very high prices, from
^500 to ^1200, were paid for figures and groups of the design
and colourings known as the "Joachim Kiindler " period, when
the famous crinoline and harlequin costumes distinguished the
figures —the kind of specimen known to have a special attraction
for connoisseurs. These groups had been manufactured at the
factory of Potschappel in Saxony, and were imitations of the
models made at Meissen during the best period of that celebrated
factory. The colourings of the decorations had been carefully
studied, so as to reproduce the effect of the genuine old groups.
Professor Brinckmann and the author gave evidence at con-
siderable length, and the Professor produced white groups which
he had actually purchased at Potschappel, to prove to Judge and
Jury our contention that these specimens were spurious Dresden.
In the case that was actually tried, the verdict was for the
full amount claimed, and in the others the defendant dealers
paid large sums of money in settlement.

These cases are referred to here to show that the collector who
has not had considerable experience in judging old Meissen, or
Dresden as it is more generally termed, is likely to be deceived
by the Potschappel imitations.
The mark given in the margin, if not a counterfeit mark, is
undoubtedly a very misleading one. The old factory of Franken-

thal, with its mark CT under a crown, the initials of
the Elector of Bavaria, Carl Theodor, has been long
extinct. The present government of Bavaria, having
the legal right to use this mark, have transferred that
^fp^
\J right to their factory at Nymphenburg, and it is now
used on white and coloured groups and figures. The
productions are very inferior to those of the real old P'rankenthal.
Similar remarks apply to modern productions of a

the
manufacturer named Greiner, of Rudol-
y stadt,
original
gian
who, as great
Gotthelf Greiner of
now uses marks (hayforks)
fame,
-
which are colourable imitations of those

used a hundred years ago by his ancestor.
These modern productions consist of the
cheapest kind of china in the Dresden
grandson of
old Thurin-
the
style sometimes the lower mark in the

;
margin is impressed, the others are gener-

(impressed.) ally iu bluc.
The mark in the margin has been placed upon a gre^t

number of groups and figures made either in Paris or at one of
the German factories. These are of no quality to
^^^^ who is acquainted with the ap-
deceive a collector
'?2S)'^ pearance of the real Ludwigsburg porcelain of the
Opmark of which it is a forgery. The china of these
imitations is white and hard-looking, the colouring
harsh and crude, but the general effect might appeal as "pretty"
to the eye unaccustomed to old china. (See notice on " Lud-
wigsburg.")
'' '^ Another mark used by Greiner is the one in

.
- ^^ the margm.
^
In Silesia there are some factories of orna-

mental china, but their productions are scarcely
ambitious enough to deceive the most careless
collector. One of the marks adopted is, however,
(t;<;iici:illy ill red.)
misleading.
Some of the imitations of Dresden china
made at Coburg are very poor in quality,
and the marks given
occur in blue,
dangerous.
of
red,
in
and
the margin, which
Both these marks are found on bad imitations

gold,
Dresden china. The first is of course supposed to

are not
^
be the crossed swords, but on reference to the notice
on "Dresden" (Chap. VII.) the difference will be
observed. The second is found on similar ware.
The china is probably made in some of the cheaper
and inferior German factories.
Another Coburg maker named Miiller has

adopted and registered a more ambitious mark.
It is generally rather indistinct, and is here re-
produced as accurately as possible.
The mark in the margin is mis-

particularly
leading owing to the word Meissen being pro-
minent the china on which the
;
mark occurs is
a cheap and meretricious imitation of Dresden
{Meissen) porcelain.
Imitations of Capo di Monte are made both in France and

Germany. The decoration is generally in relief, to comply with
ine pupuiar noLion mat au real vâpo ai ivionxe cinna '%\l t
is ornamented in this manner. There, however, ^"^^tir
the resemblance ends, for the imitations (other >\ /
than the modern reproductions made at Florence, I \/

and already noticed under the heading of Capo *
DI Monte) are quite of the original work which

unlike any
the author has ever seen. As already stated, old Capo di Monte
is scarcely ever marked, and the mark which is copied by the
imitators belongs to a later period of the factory. Moreover,

the crown very carelessly drawn on the French and German
is
imitations, and is like the device given in the margin. Tankards,

vases, ewers, and centre pieces for the dessert table are the
favourite forms of this very undesirable kind of china.
The list of misleading marks given above is by no means
exhaustive, but they are those which have come under the author's
observation.
Some of the makers and decorators of china, the pedigree of
which isnot quite satisfactory, have, as has been shown, produced
excellent work, and specimens made by some of the firms alluded
to will be found in the cabinets of most collectors.
There are, however, some imitations of different kinds of
china, which are absolute rubbish. These are the more recently
imported French and German manufactures. Thanks to recent
legislation, it is now a criminal, and not as formerly only a civil
offence, to deal in goods bearing fictitious marks, and under the
powers conferred upon magistrates by the Merchandise Marks Act,
already referred to, the police can be empowered by warrant to
seize any such china when offered for sale. Some reported cases
in which pieces of " Coburg " china were sold as " Dresden " will
probably be within the recollection of many readers. This class
of very inferior ornamental china finds a sale chiefly at some
of our fashionable seaside holiday resorts.
In one of these cases tried recently before Mr. de Rutzen at
Great Marlborough Street, when the author was called as expert
witness on behalf of the Royal Worcester Porcelain Company who
were the plaintiffs, a most ingenious defence was set up. The
managing director of the Worcester Company had admitted in
cross-examination that the earlier marks of his factory during the
" Dr. Wall " period had included the square mark (Mandarin Seal),
the crossed swords (Dresden), and some Oriental hieroglyphics
which had been copied from Chinese or Japanese models, at the
same time as the decoration of such pieces was imitated. The
defendants' counsel then endeavoured to point out to the magis-
trate that the real culprits in the case were the plaintiffs' pre-
decessors, who had copied the different Oriental and Dresden
marks without permission. The author's evidence on this point,
and the magistrate's common sense, however, disposed of this
ad captauditm argument, and his decision in this case was that with
—
which most sensible people would agree that the vicious imita-
tions are those which are made for the purpose of fraud.
The highly decorated imitations of old Sevres are only
misleading to the beginner, but as they bear the marks of the

finest quahty specimens of Sevres' best period, they demand some
mention.
The mark in the margin, with the letter between the two
reversed L's, which in real Sevres (see notice on
Sevres) should indicate the date of its manufacture
(1753 to 1777 being represented by the letters
from A to Z), appears on these productions. The
paste is very inferior to tiiat of real Sevres, and the
ground colours are poor. Under " Hints and
Cautions " the reader has been warned against these specious
imitations. As a matter of fact, these letters in this particular
kind of china, while doing the deceiver's part in masquerading
as a date letter, do also stand in many cases for the initial letter
of the decorator who embellished the white china. Thus C, which
to the uninitiated would indicate the year 1755, is actually the
initial letter of Caille, a well-known decorator of this imitation
Sevres of some twenty or thirty years ago. L is that of Lehou-

jour. B. B., which ought to stand for 1779, being the second
year of the double letter period, is the double initial mark
of Bareau et Bareau, a firm known to the author some twenty
years ago.
The Sevres mark of the reversed L in cypher with the letter
M in the centre (which, if the mark were genuine, would indicate
the year 1765) was also put on much of the earlier Minton china
which, as we have seen in the previous chapter, was decorated
by Randall in the manner of old Sevres.
In concluding these notes on counterfeit and misleading marks,
the author thinks it fair to point out that while some of them are
placed upon china with the intention of perpetrating a fraud,
others are sold by the manufacturer in all good faith, but they
are used far too frequently by some of the smaller dealers in
order to deceive inexperienced customers. On the other hand,
in a great many cases the purchaser of such goods deserves but
little sympathy, because he buys china with the counterfeit marks,
at a price which he thinks is below the market value, and

far
is only too eager to take advantage of what he considers to be
the inexperience or error of the vendor.
While these pages were in the press the author was remon-
strating one day with the member of a firm of high standing in
the upholstery and general furnishing business, for allowing such
sham china to be on sale in one of his departments, and he made
a defensive reply which serves to show that the " Iamb " is some-
times no better than the " wolf." He said in effect " do : We
not sell this china for Dresden, Chelsea, or Worcester but as ;
our customers buy articles for presents, they are anxious that the
marks of these factories shall be on the china, so that their friends
to whom such pieces are given may place a higher value upon
them." This was certainly an entirely novel point of view, and
one can only hope that it is not as fully justified as this gentleman
seemed to think.
Value of the Mark.
In the author's opinion, an erroneous, or at any rate, an

exaggerated value is placed upon the mark. This should be a con-
firiiiatioi! of all other points of evidence, rather than the evidence itself
of a specimen being genuine. Let the reader remember that the

mark is the easiest part of the forgery to imitate let him therefore
;
firstbe satisfied that the specimen has the desirable qualities of a

—
genuine example of any particular fabriquc paste, glaze, form,
colour, in a word character —
and then if it bear the mark which
confirms the other evidence of its being a genuine specimen, so
much the better.
''
^^ »• »iK» ».,». ^ »k * *
Figure of a Cat, Karlyslip decorated ware in Mr. Frank Falkner's
Collection (Uublin Museimi).
CHAPTER VII
H %!jott account of t\)z Different Ceramic jTactoric0
IN ALPHABETICAL ORDER, WITH THEIR DISTINGUISHING

MARKS AND MONOGRAMS
For tlic use of many of l!ic blocks used to illustrate this section of the book the
author is iiulebted to the courtesy of the proprietor and publishers of Chaffer^
" Marks ami MonosTrantsT
ABRUZZI WARE.
HE kind of majolica which is known as
" Abruzzi ware " not the production of
is
any particular fabrique, but the term is

generally applied to specimens which it is
difficult to assign to any of the more dis-
tinguished Italian potteries. The province
Naples was among the first, if not the
of
first, to produce majolica.
very Specimens,
and fragments of specimens, of as early a
time as the thirteenth and fourteenth centuries have been dis-
covered during excavations. The invention of Luca della Robbia
was apparently adopted in Castelli, a hamlet in the Abruzzi
district, and in Pisa and Pesaro.
The kind of majolica, however, which is now known as
" Abruzzi ware " is the more modern production of a number
of unimportant potteries near Naples. It is decorative, but not
by any means the best kind of majolica, and generally may be

said to have the appearance of inferior Urbino ware, the pre-
vailing colours being yellow and green, the subjects either mytho-
logical or scriptural, scrolls, cupids, or grotesques. See also
Majolica.
ADAMS WARE.
One of the oldest names in the Staffordshire Potteries is that
of Adams. There have been at least twelve representatives of
the name in direct and indirect descent, who have been manu-
8o ADAMS WARE— ALCORA
facturers of Pottery, and several of them have been famous
for their productions in this branch of Industrial Art. William
Adams was described as a potter of Burslem in some Chancery
proceedings in 1617, and his father appears to have owned a
pottery in 1568. The foundation of the present firm dates from
1657, when John Adams built the Brick House Potteries, Tunstall,
which a century or so afterwards were let to Josiah Wedgwood
for a term of ten years during the minority of the young Adams
who was then the heir.
William Adams of Greengates (i 745-1 805) was the maker of
jasper ware similar to Wedgwood's, and unmarked specimens are
mistaken for the work of the more celebrated potter. His vases,
plaques, scent bottles, jardinieres, cameos, and particularly the
drum-shaped pedestals which he made for mounting as lamps,
are excellent in quality and finish. The colour affected was
generally blue with white relief, but he also made tea sets and
vases in red and black ware of Etruscan form and character, and
a black Egyptian ware like Wedgwood's basaltes. A hard stone
china called " Imperial Stone ware" with sage green ground and
classical figures inwas also made by this firm. A fine
relief
plaque by Adams of jasper ware was sold a few years ago at
Christie's for £171- The present proprietors of the works con-
tinue to produce good pottery their specialities are
; 1, Adams :
Jasper 2, Egyptian Black

; 3, Grecian Red ; 4, Vitreous Stone
;
ware 5, Etruscan ware 6, Royal Ivory.

; ;
ADAMS
"^^^ mark of the old ware is ADAMS im-
ESTABLD i6s7
„ pressed in the clay, but for many years a mark
TUNSTALL ^, • ,,-„
which IS still in use u
•
a I a
has been adopted.
^
ENGLAND
ALCORA.
This factory, established by the Count d'Aranda, is said
to have been the only one in Spain where porcelain was made,
with the exception of Buen Retiro (<j.v.). A fine faience
was also made at the same works. The principal pieces were
plaques, some of them very fine, both in faience and porcelain,
with good paintings of figures in Spanish costumes on a fine
ALCORA 8i
brilliant white ground. The mark is A, in brownish red, black

or gold, and some specimens have the same letter
scratched in the paste. The porcelain, however, is
frequently unmarked. Mr. Charles Borradaile had a
cream-pot, painted in the style of old Sevres, which
has the A in gold. Major Martin A. S. Hume had,
until his collection was dispersed, four two-handled
cups with covers, with the mark both painted and in-
cised, and a soup-plate of very good quality with the
A
mark in gold only. The general character of the
porcelain is that of the early Doccia. Of the enamelled
earthenware produced here. Major Hume had also a
fine and interesting plaque, measuring 23 by 17 inches,
painted in allegorical style as a trophy, in honour of
Charles III., who died in 1788. The date of this specimen can
therefore be fixed approximately. Major Hume's great-grand-
father was an officer in this king's service, and several pieces in
Plaque of Alcora faience, Spanish'peasants befure"a fountain,

formerly in the Reynolds collection.
his collection were taken by him at the sacking of the palace of

Godoy (Prince of the Peace) in 1808. The plaque is partly in
relief, and is marked boldly in red with the letter A. The forma-
tion of this letter varies on different specimens ; it is generally
in red, but occasionally occurs in gold.
F
ALT-ROLHAU— AMSTEL
ALT-ROLHAU, near Carlsbad

A. Nowotny made both pottery and porcelain here, the latter
a hard paste.
Mark A. N. impressed, and sometimes the name
: in full,
" Nowotny."
See Bohemia.
ALT-HALDENSLEBEN, near Baden.
M. Nathusius has recently established a

factory here for hard-paste porcelain.
Mark stamped in blue.
I
AMSTEL.
The manufacture of porcelain in Holland was first started
at Weesp, near Amsterdam, in 1764, by Count von Gronsveldt,
with the assistance of some runaway workmen from Saxony. He
produced some fine hard-paste porcelain, but owing to the great
expense of the establishment, and the disproportionate returns,
partly occasioned by the growing importation of Oriental porce-
lain, the Count's means were exhausted, and the effects of the
factory were sold off in 1771. In 1772, however, the Protestant
pastor of Oude Loosdrecht, named De Moll, re-opened the manu-
factory at Loosdrecht, midway between Amsterdam and Utrecht,
where was carried on with considerable success until his death
it
in 1782. The works were continued at Loosdrecht by De Moll's

partners until 1784, when they removed to Amstel.
The characteristics of this fahrique are hard paste and a
:
tine white body, with decorations generally of landscapes and

country scenes, or single figures of Dutch peasants. Other speci-
mens fiave gilt borders, and light blue flowers between green
leaves. The earliest mark is a W. for " Weesp," and the crossed
swords, probably in imitation of Dresden. The letters M. O. L.
stand for " Manufacteur Oude Loosdrecht," with a probable refer-
ence also to the name of the pastor, De Moll. At Amstel the
marks were the initial A, and the word "Amstel" in full. All
these marks were painted, but we also occasionally find the
M. O. L. scratched in the paste.
—
AMSTEL «3
The late Sir A. W. Franks

considered that tiie mark " W.
J
:Haag" was that of the WaWcndori /a/iri/jm: The mark A. D.
was used after the removal to Oude Amstel in 1784, the initials
being those of the director, a German named Daenber. These
works were closed about the end of the century when a new
J)S^
w
MoL
Ji.ol.
U:ot
J'
w
nana/
factory was started Niewer Amstel under the name of George

at
"
Dommer & Co. The mark then used was the word " Amstel
in full. Though supported by the King of Holland, who granted
a large annual subsidy, the enterprise did not flourish, and the
manufacture ceased in 18 10.
About the same time a fresh company was started in Amster-
—
84 AMSTERDAM— ANGOULEME
dam itself, under the style of A. La Fond & Co., but was not
of long duration. The mark was the name of the firm. The
accompanying marks of the Batavian lion are also attributed by
M. Jacquemart to the Amsterdam fabrique ; they are generally
painted in blue. This lion is also found with the initials A. D.
(the initials of Daenber), the director of the works at Oude Amstel,
as mentioned above.
AMSTERDAM (see Amstel).

'
Faience of fine white enamel (chiefly table and tea services,

but also includinggroups of birds, statuettes, vases, &c.) was
made Overtoom, near Amsterdam, in 1754. The manufac-
at
tory was removed to Weesp in 1764 by Count von Grons-
veldt. No mark is known, that of the Crowing Cock, which
was formerly attributed by some authorities to Amsterdam,
being now more correctly placed as the mark of the Arnheim
fabrique {q.v.).
Anatolia (see Rhodes, also Turkey).
ANGOULEME
A small factory was established at Paris (Rue de Bondyj about
1785-92, by Dihl and Guerhard, under the protection of the Count
d'Artois. The productions were called porcelaine d'Atigouleme-
Little is known of the factory, and specimens are rare.
The paste is hard. The following marks are found painted or
stencilled in red :
J ''
OPr^
^^
•Sir.
^^.^^
/
^'^Jm-
4
A ^ '
Paris.
D'Angouleme."
Rue tie Bondy, 17S0.
Dihlli Guerhard.
—
ANSPACH 85
MANUF"^
Sometimes the mark is stencilled in red like j^ j^jor
j^^ j^^^,
the inscription in the margin d'Angouleme
a Paris.
In a case by itself in the pottery gallery of the Victoria and

Albert Museum is a vase of this factory ; it stands on a pedestal
formed of three lions,and is about 7 feet high, including the
pedestal. This vase, which is decorated with a battle subject,
most beautifully painted en grisaille, is one of the most magnificent
specimens of tine porcelain that could be desired.
A rose-water jug and basin of this factory, charmingly
decorated in medallion and floral designs, which originally
belonged to Queen Marie Antoinette, was in the possession of the
late Mrs. Wilfrid Ashley.
The marks " Dihl " and " Guerhard et Dihl " are also found.
A fabriqne known as that of the Duchesse d'Angouleme was
carried on inthe Boulevard St. Antoine, Paris, by Dagoty and
Honor6 about 181 2. See under Paris.
Faience was made in or near Angouleme in 1784, the firm
being Veuve Sazarac, Desrocher, et Fils. A piece in the museum
at Limoges is marked "A Angouleme de la Fabrique de
Madame V. S. D. et F. 28 Aout, 1784."
ANSPACH, Bavaria.
A hard-paste porcelain is said to have been made here as

early as 1718, but this is probably much too early a date. Dr.
Brinckmann and Mr. Stegmann place the commencement of
porcelain making at 1760, and Sir A. W. Franks agrees. In 1764
the manufactory was removed from the site of the old faience
factory to the Margrave's Schloss at Bruchberg, but it never
A
J\kk
86 APREY— APT
achieved a really high rank. There are several specimens in the
Franks collection. The productions are principally table-ware.
The general characteristics of Anspach porcelain are those of
Amstel or Fiirstenburg. The marks are generally painted in blue
under the glaze, and consist of a spread eagle, or a shield charged
with a bend dexter, with or without the initial A, and sometimes
of A by itself.
Faience was also made here.
APREY, NEAR Langres (Haute-Marne).

A fabriqiie of faience of some excellence was established here
about 1750 by the Baron d'Aprey. Subsequent proprietors were
Olivier, Vilhoeut (about 1780), and more recently M. Louis Gerard.
The decoration consists chiefly of flowers and birds, in red, rose-
colour, and green, and much resembles the early Strasbourg ware
(q-v.), but it is without the black or dark-coloured outline usually
found on faience.
The marks are AP or " Aprey " in full, generally preceded by
a potter's or painter's initial. The marks are sometimes painted
and sometimes stamped.
ynej
aOxt
^Ji c .
APT, Vaucluse, France.

Faience was made here about 1750, and from that time to
the present day. The ware mostly imitates
marbles of various kinds. Of the few marks
known, one is that of Veuve Arnoux (who had
the works in 1802), taken from a vase at South
Kensington, impressed. Pieces marked " R " have been attributed
to M. Reynard, who made pottery at Apt in 1830.
Broth-baîii nr I'l-iiellu and Cuvcr, of Apl Faience (Coll. Pascal).

ARDENNES— ARKAS 87
ARDENNES, Namur.
There were two factories of faience here in the hitter part of
the eighteenth or early part of tiie nineteenth century. Marks,
both impressed :
A. D. Vander Waert.
jO.W
B. Laramens & Co.
ARNHEIM.
Pieces of hard-paste porcelain marked " A simply, have
been attributed by M. Jacqueniart to Arnheira
rather than to Amstel {q-v-)- Porcelain was
certainly made here about 1772, but not
for long.
There was also a factory of faience here,
which produced pieces of some merit. The
mark of a cock, previously attributed to Amster-
"^
dam, has lately, on the authority of the late
Sir A. W. Franks and other experts, been claimed for Arnhcim.
ARRAS, Pas-de-Calais.
k fabriqiie of soft-paste porcelain was established here before

1782 by the Demoiselles Deleneur, under the patronage of M. de
Calonne, Intendant of Flanders and Artois. The
works only lasted a few years, being closed in 1786.
The ware was similar to that of Tournay (q.v.), being
made in rivalry to the productions of that factory.
The porcelain was excellent, both in quality and
decoration, some of it being quite equal to old Sevres;
pieces with gold enrichments on a deep blue ground are very
similar to old Vincennes (q.v.).
Portions of services of this description, when offered for sale,

realise prices equal to those of the best Sevres.
Four cups and saucers, a sucrier, and a plate were sold at
"
88 ARITA— ASTBURY
the sale of the Hawkins at Christie's in 1904 for
collection
about ;^300 —two of the cups and saucers are now in the
Cup and Saucer of the service sold at the Hawkins sale, May 1904.
In Mr. Herbert Young's collection.
collection of Mr. Herbert Young, and the sucrier is in that of

Mrs. Burns.
The mark is painted under the glaze, generally in blue, but
sometimes in other colours.
Arita (see Japan).
ASTBURY WARE.
In some remarks upon
our eighteenth-century English
potters in Chapter HI. mention has been made of the rather
questionable methods by which John Astbury obtained the secrets
of Elers. After leaving his employers he started some works
of his own at Shelton in the Staffordshire pottery district, where
he not only produced a red ware similar to that of Elers but
subsequently made successful e.xperiments with various clays,
the pottery wliich we now recognise as Astbury ware showing
considerable variety in colour and design. He also used an
excellent lead glaze, and by various argillaceous washes produced
some charming decorative effects. The famous " Portobello
bowl in the British Museum, made to commemorate the victory
of Admiral Vernon in 1739, is one of his best pieces, but there
are many other good specimens in the same collection. Figures
were also made by him, and the "Grenadier" in the same Museum
attributed to him is a quaint specimen. Ornamental effects
AVIGNON— BADEN-BADEN 89
lirodiiced by superimposed clays of different colours and in

relief, by " marbling " and by graffito process, the whole
also
well glazed, are distinctive of his ware. Astbury died in 1743
and was succeeded by his son Thomas, who became a notable
potter, and some works at Lane Delph were started by him as
early as 1725. Cream ware which afterwards became a speciality
of Josiah Wedgwood, was made first by Thomas Astbury clouded ;
and tortoise-shell ware, which we generally associate with the work

of another famous potter, Thomas Wheildon (q.v.), was also made
by the younger Astbur)'. One occasionally sees pieces marked
ASTBURY ;may be attributed to the son, as the father
these
is not known have adopted any mark.
to Astbury ware was
made up to 1780. The name ASTBURY always appears with
the letters stamped separately, and therefore slightly irregular ;
specimens bearing the name impressed with a single stamp should

be viewed with suspicion.
AVIGNON.
Faience was made here in the sixteenth century, and up to
about 1780. In Chajfers there is a list of potters in the
Vaucluse Department from 1500 to 17 15. Most of the known
pieces are jugs, vases, and the like, and are generally unmarked.
They are principally noted for their fine metallic glaze, resem-
bling bronze or tortoise-shell.
There are two good specimens from the Soulages Collection
at South Kensington.
Avon, near Fontainebleau (see Fontainebleau).
BADEN-BADEN.
A factory of hard-paste porcelain was
established here in 1753, under the patronage
of the reigning Margrave, by a widow named
Sperl, who carried it on with considerable suc-
cess by the aid of workmen from Hochst {q.v.)
n
until 1778. Subsequently the works were the
property of a man named Pfalzer, who be-
came insolvent, after which ihe fabriqiic ceased.
The buildings were bought by a taniier, one
Meyer, who turned them into an inn, known
as the " Grim Winkel."
90 BARANUFKA— BASSANO
The mark consists of two axe-heads, facing each other, gener-
ahy painted in gold, but sometimes in neutral tint. Occasionally
one axe-head only is found.
Pottery was also made here about the end of the last century.
BARANUFKA, OR BARANOWKA, Poland.
A hard-paste porcelain was manufactured here. The late Sir
A. W. F"ranks had a milk-pot painted in bistre camaieu with

flowers outlined in gold, resembling Dresden. Mark : the name
of the place painted.
BASSANO, OR LE NOVE BASSANO, near Venice.
Pottery was made here in the sixteenth and early seven-

teenth centuries. The fabriquc, however, was not of much im-
portance, and little is known about it until the following century.
The researches of Sir W. R. Drake {Notes on Venetian Ceramics)
have supplied some very interesting details concerning the history
of the factory subsequent to 1728.^ About that time it appears
that there were several makers of majolica at Bassano the ;
names of Manardi and Giovanni Antonio Caffo are mentioned,

as well as Giovanni Battista Antonibon of Nove. In 1753
Giovanni Mario Salmazzo started a new factory in opposition
to the one at Nove. Antonibon claimed to have a monopoly
of the manufacture of majolica throughout the Venetian domi-
nions but in 1756, on Salmazzo's petition, the Senate de-
;
cided that no such rights existed. Salmazzo continued his

works for many years, and pieces marked " G. S." may be
attributed to him.
Antonibon's successor was a potter named Giovanni Baroni.
A beautiful vase, which was formerly in the author's posses-
sion, is inscribed Fabe Baroni Nove, and dated 1802. It is
evidently a presentation piece, and probably the chef d'mivrc

of ihQ fabriquc. The subjects are Alexander and the family of
Darius, and a classical subject after Le Brun. It was for many
years in the collection of Mr. C. W. Reynol(,ls. This fine vase,

including its pedestal, is 2 feet 5 inches high. The author knows
of two smaller vases of much less importance, but in the same
style.
' For further particulars see Chaffers' Marks and Aloiio^^raiiir, 13th ed., edited by F.
Litchfield, 1912.
BAYEUX 91
The marks given below are those of the brothers Antonio

and Bartolomeo Terchi, who flourished in the seventeenth
century.
J\[ove
-A\nt on>o>D 07V
^"-^
K-r
GBm:
Giovanni Battista, Antonio Bdii
or Antonibon.
92 BAYREUTH— BELLEEK
BAYREUTH.
These marks are upon some good speci-
mens of Bayreuth faience in the Hamburg
Museum, and are quoted from Professor
Brinckmann's official catalogue.
A hard-paste porcelain was made here as
early as 1744. The pieces are well painted,
mostly with landscapes. The following marks
are found, the first being from the collection
of Sir H. B. Martin, the other two from the
P'ranks collection, all painted.
Brown stoneware was made here in the
sixteenth century ; a bottle in the Sigmaringen
B-R,.
Museum is dated 1524. A fine faience of
excellent designand workmanship was subse-
quently manufactured. The decoration of this
is usually in blue cauia'ieu.
Marks :
B ctiirc ntd
BEAUVAIS.
The celebrated faience of Beauvais is hardly likely, from its
rarity, tocome into the hands of the ordinary collector. Only sixty-
five pieces are known to exist, and the prices obtained for these, on
the rare occasions when they come into the market, are increasing
by leaps and bounds. We may mention that the generic term,
" Henri H. Ware," formerly applied to this and similar /a^r/y/z^s, is
now discarded by M. Edmond Bonnaffe (who has made a special
study of the subject), in favour of " Saint Porchaire " {q.v-).
BELLEEK, Ireland. .
These works were founded in 1857

by Mr. David M'Birney of Dublin, on
the recommendation of Mr. Armstrong,
a well-known architect, who had made
some satisfactory experiments with local
felspar and china-clay.
The peculiarity of this china is its
BELLEVUE— BERLIN 93
lustre,resembling the polished, slightly iridescent surface inside

a mother-of-pearl shell. The designs are mostly of a marine
character, sea-shells and plants, corals, dolphins, sea-horses, and
Specimen of Belleek.
Grounds Basin. Part of a Service made for Oueen Victoria.
the like, and occasionally tritons, mermaids, &c. The manufactory

is still carried on.
Mark generally printed in colour, but sometimes stamped.
Bellevue (see Cadborough).

Bellevue Pottery (see Hull).
BENTLEY WARE (see Wedgwood).

Bentley, sometime partner with Wedgwood.
BERLIN.
This manufactory was established in 1751 by W. Gasper
Wegely, a merchant who had purchased the secret of making
porcelain from some Hochst workmen, who, as will be seen
in the notice of this latter factory, had obtained possession
of Ringler's papers, and sold them to some wealthy persons
desirous of embarking in the manufacture of porcelain. After
1 76 1 it was under the management of a celebrated banker named
94 BERLIN
Gotkowski, but became a royal manufactory under the immediate
patronage of Frederick the Great, who, during his short occu-
pation of Dresden, transferred a quantity of the clay, together
with modellers and painters, from Meissen to Berlin. As
Dresden was at this time suffering greatly from the Seven Years'
War which ended in 1763, the productions of Berlin came into
considerable repute. Marryat mentions that Frederick the Great
would not allow the Jews to marry until they had purchased
a service at the royal manufactory.
The paste is hard, and the drawing of the figures, especially
those of a classical type of the best periods, very delicate and
fine there is also a chasteness and neatness about the decoration
;
of specimens of those times, while the later productions are coarse

in modelling, and are not refined or delicate in colour. At the
present time, useful ordinary china is made in much greater
quantities than pieces of an artistic character, and the factory
is not improving. That the management is, however, capable of
occasionally turning out fine specimens, we have ample evidence
in the magnificent biscuit wine-cooler presented to the Victoria
and Albert Museum by the Prussian Government, and now on
view in the new pottery gallery of the Museum, together with
some other choice specimens and new.
W
of this factory, both old
\X/ \
This W
is similar to the same letter used as a mark of
Wallendorf porcelain, but on the Berlin specimens we generally

find this W
accompanied by impressed numbers, which helps us
to distinguish them from the Wallendorf.
KPM
WE
KPJM
BOHEMIA 95
The mark of the earliest specimens is a W (Wegely) ; but

when it became a royal manufactory the sceptre was adopted,
and this mark was sometimes ac-
companied by the letters K. P. M.
(Konigliche Porzellan Manufac-
tur), also the imperial <^lobe and
cross, and the eagle, printed in a
reddish brown colour this more
;
often occurs on the modern pro-

ductions. The mark of Q is
sometimes found upon specimens
made during the proprietorship
of Gotkowski (176 1-3), and this
mark should not be confounded
with the marks of Gera or Gotha.
The specimens of the earlier
work of this factory and of the
Milk-pot ul liecliii Porcelain.
Wegely and Gotkowski periods,
which are Franks collection, should be carefully inspected.
in the
The sceptre of the earlier and better period is thinner than the
one more lately adopted, and these marks are always in blue.
One or two specimens have been seen by the author with the
sceptre stamped in the paste (colourless).
Bingham, Potter, Castle Hedingham, Essex (see Hedingham).
BOHEMIA.
In the northern district of Bohemia, end of the nine-
at the
teenth century, there was a development of the
considerable
manufacture of hard-paste porcelain and of stoneware, and in the
list of notices of the different factories in this chapter, several of
these, including Schlaggenwald, Elbogen, Pirkenhammer, Prague,
Teinitz, Altrothau will be found, but there are some others, such
as Geissshiibel, Klasterle, Chodau, Tannowa, Klum, Dalwitz, which
have been omitted.
Some services made at Schlaggenwald and at Pirkenhammer
were carefully painted, and one has seen specimens of the Prague
factory that are above the ordinary, but there is nothing really
exceptional in the product of any of these minor Bohemian
factories. Collectors of marks, however, occasionally acquire
specimens with a fabrique mark which they are unable to trace
96 BOISSETTE— BOLOGNA
in any of their Guide-books, and for the satisfaction of these, the
author has at considerable pains given in the latest edition of
Chaffers,191 2, a large number of the marks on the porcelain,
earthenware and stoneware produced at the above-named potteries.
For the information respecting this group of factories the author
is indebted to Herr Deneken, curator of the Kaiser Wilhelm
Museum at Crefeld, Germany, who sent him a pamphlet on the
subject compiled by Dr. Pazaurek (1905).
BOISSETTE, Seine-et-Marne.
In1777 Jacques Vermonet and his son started a
small good work was turned out. Mr.
factory here ;
^ H. E. B. Harrison has some specimens in his collec-

tion. The fabrique only
cursive B.
lasted a short time. Mark : a
BOLOGNA, Italy.
A manufactory of artistic majolica was established here in

1849 by Angel Minghetti, and through his perseverance and
knowledge soon attained a high state of perfection in the repro-
duction of the old ware, especially that of Luca della Robbia,
in the shape of colossal busts, allegorical figures, and Madonnas,
also medallions, ornamented with fruits and flowers. Particular
attention has also been given to the imitation of the old Urbino
majolica, following the styles of the great masters of this school,
and some very fine pieces have also been made in the Raflael-
esque ware. One of the largest vases ever produced, measuring
no less than seven feet six inches in height, was made at this factory,
and besides many other important specimens the entire decorations
of Prince Simonetti's saloon in his villa near Orsino, and that
of the Duke de Montpensier's gallery in his palace of St. Jelmo
at Seville, were made at Bologna. Very little appears to have
been known of this factory, and the mark has never yet been in-
cluded in any work on the subject. It is due to Signor Caldesi's
kindness that the writer has been able to supply the above in-
formation.
'
)N^< ' Mark: the director's monogram.
BORDEAUX— BOURG LA HEINE 97
BORDEAUX.
Authorities differ as to the date of the foundation of a
porcelain factory here. According to our most recent informa-
tion it was about 1784. The date of a pair of vases in the
Sevres Museum is given as 1780-90. The general character-
istics are those of other hard-paste French factories, such as
Angouleme.
Porcelain of fine quality is still made here. The mark con-
sists of the monogram of " A. V.," and is similar to that which
is attributed to Vaux (q.v.).
IK
Demniin gives this marl; without the lines
enclosing the word " Bordeaux."
Faience has also been made here from the

early
Messrs.
part of
Latens
bears the mark given
the
&
last century.
Rateau, established
in the margin.
The work
in 1829,
of
BR
BoTTGER Ware (see Dresden).
BOULOGNE, Pas-de-Calais.
A manufactory, of but short duration, was started here some

years ago by M. Haffringue. A fine porcelain of
excellent body was made. Much of the decoration H
was high relief, particularly well modelled.
in The
late Lady Charlotte Schreiber possessed a tea service,
with medallions of cupids and trophies, and also some biscidt
plaques with the ornament in high relief. Mark: a square tablet
in relief.
BOURG LA REINE, Paris.
A small atelier where Messrs. Jacques & Julien made soft

porcelain in 1773. The fine, delicate, soft paste of this factory
is identical with that of Mene^y, and the collection of soft-paste
porcelain recently given by Mr. Fitzhenry to the Victoria and

G
98 BOVEY TRACEY— BOW
Museum should be carefully studied. It contains good specimens
of all of this group of F"rench pale iendrc factories.
Jacques & Julien removed hither on the expiration of their lease
at M^ne^y {q-v.), where their mark was " D. V."
Mr. Borradaile
had a cup and saucer, the former marked " D. V." and the
latter " B. R." These appear to belong to one another, and
were probably made just at the time of the removal. Marks:
BR
B la R i"o5
Pottery was also made here bv the same firm, and the
manufacture is still carried on. Marks :
B la R
op
BOVEY TRACEY, Devonshire.
Pottery was made here for some time prior to 1836, by
Messrs. Honeychurch, and was imtil recently manufactured by
Mr. Divett.
BOW.
The manufacture of porcelain appears to have commenced
at Stratford-Ie-Bow, commonly calledBow, Middlesex, by the
grant of a patent in 1744 to P2dward Heylyn and Thomas Frye ;
the specification, as given verbatim on p. 112 of Mr. Jewitt's

work, is very interesting, the invention being thus particularised :
" A new
methotl of manufacturing a certain material whereby a
ware might be made of the same nature and kind, and equal to,
if not exceeding in goodness and beauty, china and porcelain
ware, imported from abroad." And the recipe is also given with
full directions for burning, glazing, and the method of preventing
discoloration.
Thomas Frye appears to have been an artist of considerable
merit, also a mezzotint engraver, and was assiduous in his
BOW 99
attention to the works nntil his death in 1762. About 1750, the
factory was acquired by Messrs. Wetherby & Crowtlier. It is
probably on account of the imitation of Oriental china that the
works were styled " New —
Canton " the title that appears in the
inscription on some of the earliest specimens.
In 1757 a West End branch was opened in or near Spring
Gardens, but does not appear to have been a financial success,
it
and in the same year there was a sale by public auction of some
of the productions of the factory. Wetherby, one of the partners,
died in 1762, and Crowther, the survivor, was bankrupt in the
following year. Mr. Burton, in his History and Description of
English Porcelain, mentions that John Crowther "of the Bow
china works " had a warehouse in St. Paul's Churchyard from
1770 to 1775, and thinks that this man was a relative of the bank-
rupt, and carried on the business in a smaller way until the whole
plant was acquired by Duesbury in 1776.
There are some plates in existence, one in the British Museum
and another in Mrs. A. R. Macdonald's collection, decorated in
blue underglaze, and inscribed " Mr. Robert Crowther, Stockport,
Cheshire, 1770," and these may have been made for a member of
the family of the John Crowther who was at the time continuing
the business.
When Duesbury purchased the moulds and plant, they were
removed to Derby, for at this time he held the Chelsea and Derby
Works, besides one or two minor potteries. Messrs. Bell and
Black's match manufactory marks the site of the old Bow Works,
which were discontinued shortly after Duesbury's purchase.
The paste of Bow is of different kinds, that of which the
groups and figures is generally composed being of a soft artificial
porcelain similar to Chelsea, but and more
coarser, heavier,
vitreous in appearance. Some cups and saucers
of the earlier
and the vases covered with encrusted plumes belong to this class
of soft paste. A much harder paste was also made at Bow,
sometimes white and sometimes having a blue-grey tint with a
thick glaze. The decoration of some of the china was by means
of transfer in outline filled in with colour, which being applied in
enamel pigments, gives it an Oriental effect often in keeping with
the rendering of a Chinese subject. Occasionally one sees pieces
decorated with etching, a process also in use at Chelsea, Bristol,
and some other factories. The colours of the dresses for the
figures are somewhat more vivid than those of Chelsea. The
white pieces, with simple Chinese designs, are very excellent, and
100 BOW
here it may be observed that the earher specimens are, Hke those
of other factories, decorated with imitations or adaptations of
Oriental designs, among which the red dragon, and the sprig
of " primus " in reUef, are prevalent. The basket pattern, with
flowers in relief, where the trellis crossed, was also executed
to a large extent. The trade of the factory increased from
/6,C73 in 1750 to -^"11,229 in
1755- This latfer sum at prices
now current would only represent some eleven hundred articles
at an average of ;îo, but would represent an enormous output
when we bear in mind that the average price of a china article
made at the Bow factory in 1755 was from 2s. to 3s. Mr.
Bemrose in his Bo'a>, Cliclsca, and Longton Hall, has reproduced
in facsimile the sale sheets, in which such items as " a pair of
dancers, 3s." occur in numerous instances, while such sums as 12s.
or I ^s. are exceptionally high. In the British Museum is a very
interesting specimen of the Bow factory —
a bowl, with a memorial
affixed, stating it to be the handiwork of Thomas Craft in 1760,
by whom the said document is signed and dated 1790.
The Bow figures and groups are not infrequently attributed
to Chelsea and Worcester on account of the similarity of the
marks, the anchor and the cresent. The pieces made at Bow
may often be identified by the presence of a square or triangular
hole at the back, made for the purpose of fixing metal arms to
form candlesticks. These holes are not found on figures made
at Chelsea, but they are sometimes on Bristol figures, therefore
their occurrence may, with this reservation, be taken as a sign
of the Bow factory. A further reference to the controversy as
to some figures recently classed as Bow which are now considered
to have been made at Worcester, will be found under the notice
of the latter factory.
Some of the most skilfully modelled Bow figures are those
attributed to the modelling of John Bacon, K.A., who, after being
as a lad apprenticed to a china manufacturer named Crispe, of
Lambeth, rose to some fame as a sculptor, became a Royal
Academician, and modelled several figures for the Bow manu-
factory. His mark, a small capital " B," is impressed in the paste
of some of his figures, but this mark may be easily overlooked.
There is a pair of figures of Cooks so marked in Captain Thistle-
thwayte's collection. Some other well-known lignres made at
Bow were the set of four seasons, Flora, Marquis of Granby,
Genera! Wolfe, Mars and Venus, harlcc]uin in different costumes,
dancers and (lower-sellers, and figures with bagpipes in pairs,
BOW lOI
Soup Tiiiecn ol Kow porcelnin, wiDtc, wilh [nunus lilos'iiiiii in relief

(Victoria and Albert Museum).
boys mounted on goats, and some portrait figures of actors.

Some of the white figures formerly considered to be Bow are now
i^-yir
Bow Tea-pot with two spouts, formerly in the collection of Mr. D. W. Macdonaki.
I02 BOW
attributed to Chelsea, and the well-known little " Bee " milk-jug
which authorities formerly assigned to Bow is also credited to the

sister factory. The Bow figures generally have bases with four
prolonged scrolls which form feet, raising the figure three-quarters
of an inch or more from the ground, and on these feet, and on
the scroll base from which they spring, there are generally some
blue and red lines in the decoration, and it may be added that
there is an absence of gold on the earlier pieces.
Collectors should carefully study the Schreiber collection in
the Victoria and Albert Museum for some of the peculiarities of
Bow, the crude and vivid colouring, the " blob " of red in the
cheeks of the figures instead of the more careful stippling used
at Chelsea, and the blue, red, and pink-mauve colourings which
are characteristic in these figures, as distinct from those of
Chelsea or Bristol, with which they are likely to be confounded.
Some recent information with regard to Bow and Worcester
has enabled us to transfer many specimens to the latter factory,
which were formerly ascribed to Bow. A mark which appears on
some figures having the appearance of a monogram "T. F." used
to be considered as the initials of Thomas Frye, the manager of
Bow factory, but this theory is now given up in favour of the
view that it is the mark representing jade, copied from the old
Chinese porcelain. Some six specimens which are in the British
Museum, consisting of three dishes, a and two sauce-
tea-pot
boats, having raised moulded borders and blue under
delicate
glaze decoration, have been recently transferred by the Museum
authorities from Bow to Worcester. Analytical experiments have
proved that the body or paste of these specimens contain steatite,
an ingredient which was never used at Bow, but is known to have
been part of the composition of the old Worcester paste. There
are, however, instances in which workmen's marks having the
appearance of Frye's monogram occur upon figures which are
undoubtedly of Bow manufacture, and sometimes this monogram
is found in conjunction with recognised Bow marks.
Really line Bow figures realise prices quite equal to those of

Chelsea, and they are much more difficult to find, but, generally
speaking and excepting the finest specimens. Bow might almost be
classed as coarse Chelsea. At the sale in May 1899 of the collec-
tion of English china formed by Mr. MacLaren, a very important
pair of Bow figures realised ;^400. This is probably the highest
price yet recorded, but we have no doubt would be exceeded if a
sufficiently important specimen should be offered for sale.
r^ —
O ri
^ 1
O —
u
—
BOW 103
The following marks are either incised or roughly painted in red,

and occasionally the mark is in two colours, red and blue :
4^^' 4>T
o >
??U' J
This mark is on a pair of This mark of a G in blue is A Bow mark which occurs
vases formerly in Mr. Louis identified as Bow by a similar on a pint muy. 1 he mark
Huth's collection. This is specimen in the Victoria and is under the handle and is in
the only instance of it known .\lbert Ajuseum which bears an blue with gilding over it. In
to the author. "arrow'' Bow mark. It is on Mr. Broderip's collection.
a sauceboat in Mr. Broderip's
collection.
^ BT T ^ )^ Y % % \<s
Bow. Monograms of Thomas Frye and of Tebo, and also some workmen s marks.
—
I04 BOW
There is considerable difference of opinion among experts as
to the proper attribution of some of these workmen's marks. In
those of this character included in the Worcester marks, there
are several which the writer has seen on specimens which are in
his opinion ofBow origin, and many of these are claimed by Mr.
Hobson Worcester in his new book. Perhaps the solution of
for
the difficulty may be found in the suggestion that some of these
craftsmen worked at both factories, and also at Lowestoft.
The marks occur generally upon specimens of little value,
such as portions of tea sets, with painted blue decoration of a
rough character.
Mr. Broderip, of Weston-super-Mare, has many of them which
he agrees with the writer were made at Bow.
The crescent mark was used at Bow, though rarely. The
author had a pair of candlesticks, with figures representing the
seasons, the one marked with the crescent and the other with the
swords. These were formerly in Mr. F. J. Thompson's collection,
and are now in that of Mr. C. W. Dyson Perrins, and are
considered to be Worcester and not Bow. Some marks are also
common to both Bow and Worcester, notably the crossed arrows
and circle, and the anchor. As several models of figures were
copied by both the Bow and Chelsea factories from each other,
tiiere is often some difficulty in determining the correct factory
when there is no mark.
Upon a figure in Turkish costume standing on a scroll base, in
the collection of Mrs. A. R. Macdonald, is the mark of the crescent,
in blue, accompanied by the anchor and dagger in gold this is
;
very unusual. A small pair of figures of a boy and girl in the

same collection bear the anchor and dagger in red, accompanied
l)y the dagger and a dot in blue, thus
^^ r^
The letter /^^ in blue, which is found on some pieces of
Longton Hall, also occius in conjunction with the ordinary Bow

anchor mark in red on two figures known to the author (see
notice on Longton Hall). One of these, a flower-seller, is in
Mr. H. Manfield's collection, and the other, a large figure of
Flora, in that of Lady Hughes.
The impressed mark "To" is probably that of Tebo, a well-
BRADWELL— BRAMPTON 105
known modeller, who also worked for Champion of Bristol, at

Bow, for Wedgwood at Etruria, and also it is believed occasion-
ally atWorcester.
This mark, which is very similar to one vised at
Worcester, occurs on a pair of candlesticks formerly ^^^«
in Mr. D. W. Macdonald's collection, together with ^r»^S»
the anchor and dagger.
BRADWELL, Staffordshire.
The famous brothers, David and John Philip Elers,
established their works here about 1690. They were the first
potters in England to use the salt glaze. By carefully refining

and sifting the local clays, they produced vast improvements on
the rough earthenware previously made in the district. These
early English potters are best known by their red ware, which
is generally described as Elers Ware. This is of a fine brick-
red, generally in imitation of the Japanese as regards design,
with well-defined moulded ornaments in relief which were
produced by pressing the paste before firing in a well-cut steel
mould. The ornament was generally the tea plant or prunus con-
ventionalised, but other patterns were sometimes used. The body
is closely mixed, and so hard and dense that it will polish if rubbed
hardly, a test that more loosely mixed paste would not respond to.
The principal products of their factory were tea sets, and one finds
these most carefully potted, the details of ornament such as a leaf
or mask under the spout of a tea-pot or jug carefully finished by
hand, and the lids of the tea-pots accurately fitted. Black ware
similar to the Basalt ware afterwards produced by Josiah
Wedgwood was also made by Elers. Few pieces are marked,
and from the great similarity to the Chinese red ware which they
copied so closely, it is difficult to identify. The seal mark, too, which
Elers placed upon much of this ware is not unlike an Oriental
mark. Mr. Marc Louis Solon has many specimens in his
collection, and the reader will find Elers well represented at the
British Museum. (See also Astbury Ware.)
Mark on a red, Elers Ware, silver-mounted coffee-pot in fg]
the collection of Mrs. A. R. Macdonald.
Brampton, near Chesterfield (see Nottingham).

io6 BRANCAS-LAURAGUAIS— BRIOT
BRANCAS-LAURAGUAIS.
The Comte de Lauraguais appears to have been a scientist
and member of the French Academy in 1758, and to have been
successful, after experiments made with the assistance
of a chemist named Guettard, from materials which
he found at Alenôn, in producing a hard-paste
porcelain of good quality. As far as is known, he
did not establish a factory on commercial lines, but
worked as an amateur, and presented his productions to his friends.
In MM. de Chavagnac et de GroUier's valuable Hisloire there
are many particulars of this ceramic venture. The mark v^'as
oêj \^
nos
the monogram of tlie Count, and on some pieces tiiis is accom-
panied by a date, 1764 or 1768, engraved in the paste in cursive
characters.
BRANDENBURG.
An inferior kind of porcelain is said to have been produced
here from 1713 to 1729, or thereabouts, under the direction of
a workman named Kempe, who ran away from Meissen (see
Dresden).
Breitenbach (see Grosbreitenbach).
BRIOT.
A factory enamelled earthenware was established in
of
Paris about 1550, by F'rantpois Briot, in opposition to Bernard
Palissy. Francois Briot was a goldsmith first and a potter after-
wards, and careful consideration of his work will demon-
strate this ;for his designs, from their delicacy and minute
details, are better adapted for production in silver or gold than in
BRISTOL 107
clay. The author had a very characteristic ewer of this fabriqiic,

which is now in the collection of Mr. Siegfried Rosenblum. The
material of which the specimens are made is a kind of tcrre de pipe
of poor quality, but the enamel with which it is glazed is remark-
ably hard and metallic in appearance. Few specimens are
known, and these are mostly ornamental salvers, or ewers. One
of the best specimens is a salver in the Salting collection.
Briot's ware is noted for its fine vitreous enamel and brilliant
colours, at first sight suggesting enamel on metal rather than
earthenware.
Marks F. B., or sometimes F. alone, stamped
:
in the clay, but specimens are generally unmarked,

and the amateur must be guided by the characteristics
noted above rather than by any mark.
BRISTOL.
Bristol Delft. — Pottery was made in or near Bristol at a very
early date, but we have no means of differentiating early specimens
from those of other old English ware of a similar character. From
the hrst part of the eighteenth century, until the enormous and
rapid growth of the Staffordshire potteries stifled the trade, there
appear to have been several firms which made " Bristol Delft," as
it has been generally termed. The best known of these was that of
Richard Frank, whose works were in " Redcliffe Backs." He was
also the proprietor of a copper lustre pottery factory at Brisling-
ton, and appears to have been a man of great energy and to have
done a large business. In old documents he is described as a
" gallipot maker."
The earliest dated specimen attributed to him is a plate with
. . . B D
initials S. M., also one T x H, and Chaffers states that specimens
1703 1716
dated 1721, 1735, and 1753 were destroyed in the hre
1711,
which consumed the Alexandra Palace. These later dates
belong to the time of Frank's son Thomas, who was in partner-
ship with, and succeeded his, father. The plate painted " Nugent
1754" was made by Frank for Nugent, who was the candidate at
an election. The latest dated specimen known is a plate with
initials , which is just previous to the decline of the
industry.
io8 BRISTOL
The enamel of the ware is hard and upon a well-made
earthenware body, its decora-
tions being in greyish-blue.
Compared with Lambeth
Delft it is rather clumsy. A
peculiarity of the decorations
found on some specimenswas
produced by a process called
Bianco sopra Bianco, which
rendered part of the design
in a white opaque enamel.
A pale greenish-blue tint was
also used in the enamel of
this Bristol Delft, which gives
a pleasing contrast to the
remainder of the floral or
Edkins' Plate, formerly belonging to Mr. Owen. other patterns in greyish-
blue. Specimens are in the
British Museum and also in that ofUverpool.
Michael Edkins worked for the Franks, and has
E left it on record that the brushes used for decorating
this Delft ware were made by the painters them-

selves, from hairs plucked from the nostrils and eye-
'ids of cattle. This Edkins left the firm some time
\j^/^f^
076o
'/ Ovy after 1761 and became a coach painter and subse-
quently an actor other workers were a family
;
Inscription on
Bristol Delft. named Hope and a man named Patience.
Bristol Election Plate 1754.
Another Delft potter at Bristol wâs a man named Joseph

Flower, of No. 2 The Quay ; he afterwards moved to 3 Corn Street,
BRISTOL 109
and we know that he had a sign-board painted by Edkins with the

words " Flower, Potter." His ware was thinner than that made
by Frank, and had an excellent glaze. Jewitt describes and
illustrates a plate which
was part of a service made
for a relative of his, and as
recently as 1877 this was
in the possession of a de-
scendant of the original
owner. We give an illus-
tration of this specimen,
together with its mark
(Flower's initial), by the
courtesy of Messrs. Virtue
and Co.
E.xcellent tiles of a
decorative character were
made quite early in the
Bristol Delft I'hite made by Flower.
eighteenth century, some-
times as single specimens and also as parts of tile pictures, but
only because the subject is English, or by some initial or date,
are we able to distinguish such as are of Bristol make from
Dutch tiles of the same kind. Mr. Owen, whose
book on Bristol pottery is the best authority,
mentions one of these tiles painted with a dog
which has on its collar "Bristol 1752," and in
the Victoria and Albert Museum is another with
a view of St. Mary Redcliffe Church. Among
the later painters of tiles or roundels, the name
of William Fifield occurs on specimens well
painted in flower subjects, and on one of these
Flower's mark.
in Major-General Astley Terry's collection is
the word ''

Bristol " impressed in a circle together with an
anchor.
—
The Bristol Pottery is a different and much
Bristol Pottery.
laterware than the Delft, and is inferior in quality. A potter
named Ring, who had married Richard Frank's daughter, and
afterwards purchased the business, carried it on as " the Bristol
Pottery." A half-pint mug which was in the author's possession
some years ago had a view of Ring's Pottery and also of the Temple
Church: it was dated 1802, and was made in commemoration
of the Peace of Amiens. After Ring's death the business was
no BRISTOL PORCELAIN
continued by his widow, and we know that it was in existence
in 1817, possibly much later. The small mug illustrated was
probably made at this pottery.
Half-pint mugs, similar to the one

illustrated, are also occasionally found
with such inscriptions as identify them
with the Bristol potteries.
The small mug illustrated is marked
Small Mug
of Bristol Pottery " Bristol Pottery," and bears its date in the
commemorative of the Peace
of Paris, May 30, 1S15
inscription on the face, " 1815."
: in
Mrs.'A. Macdonald's collec-
tion.
BRISTOL PORCELAIN.
The manufacture of porcelain at Bristol was first started
about 1750, but the venture was not a success. It was carried
Tureen Cover and Stand of Uristol Porcelain, green laurel festoons and gilding
(British Museum).
on in quite a small way at some glass works known as Lowris

House, the soap rock found at Lizard Point being one of the
chief ingredients' in the composition of the paste. Chaffers has
given an interesting quotation from the diary of a Dr. Pococke
in which the following sentence occurs: "They make very
CHAMPION BRISTOL CHINA iii
beautiful white sauce-boats adorned witli reliefs of festoons, which

sell for sixteen shillings a pair." These specimens are very rare,
and two are mentioned below. Two other examples of this peculiar
early Bristol porcelain are known: one is a plate dated 1753
and having the initials "J. B." of John Biittain, and the second
is a bowl decorated with the blacksmiths' arms, which is supposed
to have been made for John Brittain's brother, who was an iron-
monger by trade. This bears date 1762, which date, given by
Mr. Downman in his English Pottery and Porcelain, is very
important as showing that the " Lowris House " undertaking
was in existence for some twelve years after its inception.
This mark in raised letters occurs on an early moulded cream-
boat in Mr. Borradaile's collection. Mr. Alfred ^^
Trapnell has a pair of white figures of fakirs with iLj'jj'
j
this mark Bristoll ; in the paste is scratched the
date 1750, which, it be seen, is considerably anterior to the
will
time of Champion. In the Sheldon collection there is a
specimen of this early Bristol china having the raised mark
of " Bristol " spelt with one " I."
CHAMPION BRISTOL CHINA.

The manufacture of porcelain at Bristol, apart from the above-
mentioned undertaking, was founded by Richard Champion, a
Bristol merchant and partner with William Cookworthy at
Plymouth {q-v.). We do not know the exact time when works were
started, but 1768 has been generally assumed to be the date.
Two years earlier Champion had been making experiments with
some clay from South Carolina, but these were unsuccessful, and
it was in 1768 that funds to the extent of X7000 were provided
by various capitalists towards the establishment of the works. In
1770 the Plymouth works were transferred to Bristol, and the
manufacture was carried on under the style of Champion & Co. at
15 Castle Green. In 1774 Cookworthy retired from the firm, and
Champion, with the aid of some capitalists, carried on for some
years the manufacture of a fine hard-paste porcelain, much like
the Oriental. With a view to increase his chances of recouping
himself for the large sum paid to the patentee, he applied to
Parliament for an extension of the monopoly, and obtained it
in spite of the strenuous opposition of Wêdgwood, on behalf
of the Staffordshire potters, and others who used their influence
in Parliament against him. The benefit gained, however, was
112 CHAMPION BRISTOL CHINA
barren, for the great expense and loss of time involved drained
his resources,and the works were discontinued, the patent rights
being sold to a company The
of Staffordshire potters in 1782.
clay of which the paste was composed was brought from Corn-
wall, and was mixed with pulverised " growan stone," also from
Cornwall, from the estate of Lord Camelford, who had assisted
Cookworthy, the original patentee.
A fine specimen is in the British Museum a cup and saucer :
that formed part of a handsome tea-service made by Champion

to Edmund Burke's order, for presentation to Mrs. Smith, in re-
./%
f":-<^
The Tea-pot uf the Burke Service, in Mr. Alfred Trapnell's collection.
cognition of her own and her husband's warm support, during his
contested elections, 1774. The service is decorated with delicate
wreaths (a favourite ornament at the Bristol works), the coat of
arms of the Smith family, and two S's entwined. Another remark-
ably fine service, decorated with the arms of Burke, was presented
to the successful M.P. by Champion. This service, which con-
sisted of six pieces, was sold for ;^"565 at Messrs. Sotheby's in
1 87 1. The value of this service has increased enormously since
that time, and the tea-pot illustrated on this page, which
some few years ago sold for ;42iOi was quite recently again put
up at Christie's and realised ;^440. Some other celebrated
Bristol servicesmay be mentioned. One made for Sir Richard
Smith decorated with the letters " R. S." entwined. A set known
is
as the " Plumer " service has thejinitial " P.," and another one is
K
<5 i; " <
u ^ ^ ^
o
J
O
H
t/2
;i
—
J= — «>'
^ : -^^
CHAMPION BRISTOL CHINA 113
decorated with a crest of a bird which has_ been described as

the Cornish Chough, although there is some doubt as to the
correctness of this description. Mr. Alfred Trapnell has speci-
mens of all these fine services, and in addition some pieces of the
one which for some reason unknown to the writer has been
termed the Gainsborough service, also two cups with initials
B and C, probably those of two Bristol families for whom
services were made. Laurel wreaths and festoons are some-
times the only decoration of the services, and at others these
wreaths are made to frame little cameo-like medallions, with
very satisfactory effects. When landscapes are painted we find
them very carefully executed.
There are also specimens some of the above-named sets
of
in the British Museum, and Albert Museum, and in
Victoria
the Liverpool Museum (Mayer Coll.). Genuine specimens of
any of these services realise large prices when by chance they
are brought to the hammer.
Figures and Vasrs. —
The vases made by Champion were of
considerable importance. We find some of them of hexagonal
shape about 12 in. high and beautifully decorated this model ;
'came originally from Plymouth, but the vases made there were
of coarser paste than the Bristol ones. F"our fine examples of
these vases are in the Trapnell collection and two are in the
Victoria and Albert Museum.
The figures made at Champion's factory are excellent, and
among the models are the following. Four Quarters of the
Globe (originally made at Plymouth), of which there is a set
in South Kensington. The Four Seasons in two designs, one
known as Classic, and the other as Rustic. Some of these liear
the mark of the modeller Tebo already mentioned. Pairs of
figures Milkmaid and Shepherd, Gardeners, Shakespeare and
Milton, a portrait figure of Edmund Burke, one of Champion's
daughter as a Vestal Virgin, and many other models charmingly
rendered, full of life and animation, are all in great demand by
collectors and realise very high prices. Birds on stumps are
more rarely found the models of some of them are common to
;
both Plymouth and Bristol.

Biscuit Plaques A specialite of the Bristol factory was the
manufacture of charming plaques, generally oval in shape,
modelled in relief in white biscuit. Sometimes the subjects are
delicately modelled flowers, others have coats of arms and
portraits. One of these latter with a portrait in relief of
H
114 CHAMPION BRISTOL CHINA
Benjamin Franklin, is in the British Museum, and another, for
which the owner paid ;î5o, is in the Trapneli collection.
Transfer decoration similar to that carried out at Worcester
is occasionally found, but specimens are very scarce the :
etching of flowers in black also occurs on some few examples.

A cream-jug of this kind is in the Trapneli collection.
A peculiarity of Bristol paste is its hard, vitreous appearance
and its whiteness a kind of " ribbing " can be noticed, as
:
though in turning the vessel on the wheel, the marks of a slight

irregularity of the lathe were left small black spots, too, are
;
often seen in the paste. For further details of the Bristol

factory, and illustrations of many of the best pieces, Mr. Hugh
Owen's Two Centuries of Ceramic Art in Bristol should be
consulted. The most usual mark is a plain cross in a slaty
blue, but other marks are also found, including the numerals
I and 2 in gold. These latter are said to be the marks of Henry
Bone, who afterwards became famous as an enameller and
painter of portraits and figure-subjects on copper. He was
Champion's first apprentice, and the gold " " is attributed on i
Owen's authority to him. William Stephens was his second

apprentice, and the gilt " 2 " is considered by the same writer
to be his mark. These gold numerals always occur on carefully-
painted specimens. Occasionally we find both the cross and
the crossed swords on the same specimen, and on the tea-pot
of the " Smith " service in Mr. Trapnell's collection in addition
to the cross is the letter A and " ist " in puce.
B ^ -I-
7
The Rev. A. W. Oxford, in his preface to the catalogue
of the Trapneli collection, has given us the results of his obser-
vation of 1500 pieces of Bristol china, and they are of consider-
able interest. A cross was found on 867 on 459 it was ;
accompanied by a number on 288 there was no mark. The

;
numerals range from i to 24, and doubtless refer to the

decorators of the china.
The following is a list of the numerals found in the above
—
BRUGES— BRUSSELS I i.^
named series of 459, all of which were also marked with the
cross:
Numerals: i 2 3 5 6 7 8 g 10 1 1 12 13
Specimens: 138 27 44 56 13 22 54 nil 14 10 6 nil
Numerals : 14 15 19 20 21 22 23 24
Specimens : 3 nil 2 9 3 nil
This mark, whicii is found impressed on

many Bristol figures, is believed by Mr. Owen to
denote the work of Tebo, a well-known modeller
(see Bow).
Shortly after the transfer of the works from
Plymouth to Bristol, this combination of the %
two marks was used, and sometimes the Ply-
mouth mark alone, either in gold or in red. X
BRUGES.
A was started here about
factory of faience IP
a century ago by Henry Pulinx. The works
are still carried on. Marks as in the margin.
BRUSSELS.
A factory of hard-paste porcelain was carried on here
towards the end of the last century, by L. Crette, many of
the pieces bearing his name or initials, painted or stencilled in
red. Specimens are in the Franks collection.
Marks, generally in blue, sometimes in red. The initials
and the monogram E. B. is that of

L. C. are those of L. Crette,
a painter named Ebenstein, whose signature occurs in full upon
a portion of a tea service in the Franks collection. There is
little or nothing to distinguish Brussels porcelain as regards the
quality of the paste from any of the French hard-paste factories.
1/ Lt£ttedeJjiuxe.He,i
B
LC B ^
ii6 BUEN RETIRO
Pottery was also made The following marks are
at Brussels.
given by Jannike and Chaffers and the latter quotes from The
;
Journal of Commerce in 1761 that there was at least one factory of

considerable importance where Delft or faience was made under
the proprietorship of one Phillipe INIombaers.
C3
i^6
/TLHP J ^ *S*
3:
M i cP
®
IB 'G^>'4 if ni KY NT lî
Note. — Dr. Justus Brinckmann, the curator of the Hamburg
Museum, is of opinion that the second mark, i.e. C.B. under a
crown, given in the above group, is that of a German faience
produced at Friedberg in Bavaria, and that the three marks of K
with hayforks are also erroneously included with the Brussels
marks. The letter K stands for Kiel, a painter who sometimes
signed faience with his full name, J. G. Kiel, and date 1756. The
factory was at a place called Abtsbessingen, near Sondershausen.
BUEN RETIRO, Madrid.

This manufactory was established by Charles 111. (who be-
came King of Spain on vacating the crown of Naples in 1759),
at a country house much frequented by his Court, and called
El Biicn Rcliro. As he brought with him his workmen and
models from the Neapolitan factory, the Spanish productions
bear much resemblance to those of Capo di Monte. Great
secrecy was observed as to the processes used, and the King took
the greatest personal interest in the work, assisting with his own
hands in the production of some of the pieces. The productions
were chiefly for royal use, or for presents to contemporary sove-
reigns or favourites ; many
thus preserved are singularly beautiful.
On the accession of Charles IV. in 1789, the ware was for the
first time sold to the public, and although the works still remained
BUEN RETIRO 117
under royal patr(jnage, they ceased to enjoy the close personal

interest ofthe sovereign, as in the preceding reign. During the
Peninsular War the works were destroyed by the French, the
buildings turned into a fortification, and surrendered with two
hundred cannon to the English, under the Duke of Wellington,
on his entry into Madrid, August 14, 181 2. The building was
subsequently blown up by Lord Hill when he evacuated
Madrid.
Of soft paste, and a delicate white, susceptible of lustrous
colouring, this china is more than usually transparent, and has
altogether a shell-like appearance. Groups were favourite
of fruit
subjects for the decoration of services.Designs in relief
were also executed in white, occasionally enriched by gilding.
Some pieces, being representations of shells ornamented with
coral, are exceptionally delicate. Figures are rare
and generally well modelled. The author once (T\
possessed a pair representing October and Novem- vL/
ber, which were purchased in Malaga in 1889.
These bear, in addition to the flciir-de-lis in blue, the impressed
mark which is supposed to be that of Ochogaria, modeller and
designer to the King. Mrs. Beresford Melville has some figures
marked with the impressed fleur-de-lis.
The marks are two C's interlaced, the royal cypher, and
also the fleur-de-lis (the Bourbon crest), in blue, generally being
somewhat indistinct ;
but the character of the porcelain is un-
mistakable, being like that of Capo di Monte only, which, how-
ever, it excels in delicacy and in thinness of body. In the pottery
gallery at the Victoria and Albert Museum is a magnificent vase
of this factory, and also other specimens. The pair of Sceaux
illustrated are excellent representative pieces.
±\^ :5L O.F I.
The monogram of the painter or modeller is sometimes added.

Pottery was also made here. Mark two C's interlaced, :
under a crown.
BURSLEM (see STAFFORDSHIRE POTTERY).

ii8 CADBOROUGH— CALDAS
CADBOROUGH, Sussex.
The manufacture of common earthenware has been carried

on here about a century.
for Mr. Mitcliell, the present pro-
prietor, has turned his attention to more artistic productions, with
considerable success. The word " Cadbo7ough " was formerly
scratched in the clay, but is now generally omitted. The ware
is highly glazed, some of it being not unlike the common brown
Rockingham ware.
The very curious pieces known as " Sussex Pigs " were made
here, and also at the Bellevue Pottery, near Rye. These are in
the form of a pig, the body of which forms a jug, while the
head lifts off and is used as a cup. These were in demand at
country weddings, where each guest was expected to drink the
health of the happy couple in a hogshead of beer. One of these,
in the Baldwin collection, figures in Marryat's History of Pottery
and Porcelain (3rd edit., p. 393). This popular model of the Pig
has been reproduced, and specimens may still be obtained at this
little pottery.
CAEN, Calvados.
A factory for the production of faience was started here about
1798, but the manufacture was soon abandoned for that of porce-
lain. The fabriqiic was given up about 1808. The ware was of
hard paste, of excellent quality and decoration, resembling late
Sevres.
Mark: the name Caen, generally stencilled.
The manufacture was afterwards revived by M. Le Francois,
who added his own name to the previous mark.
Caffaggiolo (see Majolica).
"^^^ CALDAS, Portugal.

*^<^ Modern imitations of Palissy ware are made here.
'^'"'^' ""'' "^ ''"''' '"'-"''''•
PORTUGAU
CAMBRIAN WARE— CAPO DI MONTE 119
CAMBRIAN WARE.
Swansea, best known for its porcelain, was also the place of
manufacture of the salt-glazed stoneware known as Cambrian.
The manufacture was probably established about 1750, and
was greatly improved by Mr. George Haynes between 1780 and
1790. The firm subsequently became Haynes, Dillwyn & Co.,
and in 1802, on the retirement of Mr. Haynes, Mr. Dillwyn carried
on the factory alone. The ware is well painted birds, butterflies,
;
shells, &c., being the principal subjects of decoration. See also

notices on Swansea, Nantgarw, and Coalport.
Specimens marked Cambrian (cursive) are rare. Mr. Alexander
Duncan of Penarth near Cardiff has two vases painted by Thomas
Pardoe. One of these is included in the illustration of a group of
Swansea porcelain and described in the notice of Swansea {'/.v.).
C(xnv''^rictn HAYNES, DILLWVN & CO.
CAMBRIAN POTTERY,
SWANSEA.
Swansea. Established 1750: taken
cmMim by G. Haynes, 1780; ceased 1820,

and removed to Coalport.
Canta Galli (see Florence).
CAPO DI MONTE.
This factory, the notice of which, following that of Buen
Retiro in alphabetical order, should precede it if arranged chrono-
logically, was established close to Naples by Charles III. in

1736. It has been suggested that his consort, Amelia of Saxony,
may have brought the secret from Meissen to Naples but ;
Marryat is probably right in giving the Queen credit only for

the impetus she gave to ceramic art, and in considering the
manufactory of native birth, and independent of those runaway
Dresden workmen who carried to so many new factories the
secrets of their former works. The character of the paste is
—
120 CAPO DI MONTE

quite different from that of the Meissen works the only thing ;
in common is that which we young ceramic

find in all factories
the Oriental style in the decoration of the first specimens, doubtless
adopted with the idea of imitating the true Chinese porcelain.
The King here, as afterwards in Spain, took the greatest per-
sonal interest in the conduct and welfare of the manufactory, and,
CAPO DI MONTE.
Ciroiip of the Peep-show, in the collection of Mrs. .\illuir R. Mactlonald.
we are told, looked with favtnir upon those of his subjects who
were customers at the royal warehouse. Marryat quotes from a
letter to Lord St. Vincent from Lord Nelson " A little circum- :
stance has also happened which does honour to the King of Naples
and is not unpleasant to me. I went to view the magnificent
maiuifactory of china. After admiring all the fine things suffi-
cient to seduce the money from my pocket, I came to some busts
—
CAPO DI MONTE 121
in chiiKi of ;ill the roy.il family; these I immediately- ordered,

and when went to pay for them, I was informed that the King
I
had directed whatever I chose should be delivered free of all

cost —and it was handsome of the King."
As we have seen in the notice of the Buen Retire factory,
Charles III., on his vacation of the throne of Naples, took
with him workmen and models, to found the new works. The
NeapoHtan factory was, however, continued under the patronage
of his son and successor F'erdinand, and with his assistance
other factories were started by his subjects. The royal aid was ill
requited by a conspiracy between some of those who had left the
parent establishment, and others who were still on the original
staff, to steal some of the gold and silver models, and other valuable
articles. They, however, benefited but little from the new works
which soon languished and died from want of capital and energy.
Revolutions are not conducive to the prosperity of ceramic
factories, and during the troublous times that vexed Naples at the
latter part of the eighteenth and commencement of the nineteenth
century, the Capo di Monte establishment had a hard struggle.
After languishing for some years, it became extinct in 1821, the
requisition of part of the site for a hospital being the last straw
to complete its breakdown.
The productions of this celebrated manufactory are very
beautiful, and, like the old Sevres, its soft paste has a charm of
itsown, derived from what one is tempted to term its " texture,"
which has a most delicate and soft appearance. Services were
made in which each piece was decorated with a peasant in the
costume of a different province, while underneath, in addition
to the mark N surmounted by a crown, impressed or in blue, is
written in a brownish-red colour the name of the province or the
place of which a view is given on the specimen.
Groups of shells were very favourite designs, and also mytho-
logical subjects, executed in high or low relief, and tinted in
colours on a white ground borders of swags of flowers were also
;
prevalent. Some large presentation pieces vases and plateaus —

— were made, chiefly as presents, while figures were, as in the
Buen Retiro factory, more rare.
One of the most charming specimens of old Capo di Monte is
the little group (illustrated) of a Peep-show. The modelling and
colouring are excellent. It was originally in Mr. G. H. Bohn's
collection, and there was a note in Christie's catalogue of the Bohn
sale, to the effect that this group had been in the possession of an
122 CAPO DI MONTE
connected with the Capo di Monte factory for nearly
Italian family
a hundred years. The author purchased it at the sale of Lady
Charlotte Schreiber's Continental porcelain, and it is now in the
possession of Mrs. Arthur Macdonald.
^ This mark, together with an incised cross, occurs on
f" a Capo di Monte figure of a dancer wearing a mask.
In blue.
^_ p_ Macdonald's collection.
j|.j jyj^g_
Old Capo di Monte is generally immarked, but the following

marks occur upon some specimens. The earlier pieces bear no
marks.
^r
^^
Capo di
AL,
.4i?
Monte. Ci'na 1780.

^
rv:
Mark on
N
KT
the services
^^
Mark fnind
Rex Ferdinandus. referred to above. occasionally
in gold.
Some forty or fifty years ago the Marquis Ginori established

a factory near the old site, for making reproductions, and as, in
addition to his other fabriquc marks, he has also adopted one of

the signs used at the original factory, that of the crowned N,
collectors must beware of deception. The paste is, however,
much more vitreous in appearance, and the tinting of the subjects
in relief is less delicate and refined. The peculiar " stippling,"
too, of the old process is replaced by a quicker method of
colouring, and the figure work is altogether more " waxy " and
less carefully finishedthan in the old specimens. The majolica
manufactured at the present time is, however, of good quality ;
highly lustrous pigments, and bold, effective designs, executed on

forms that are correctly adapted from the classic and antique,
render the Marquis Ginori's factory near Florence of very high
reputation. Besides the marks given below, the coronet surmount-
ing a G is sometimes found on the more recent specimens.
GINORI.
Impressed mark. Generally

sometimes
N
in l)lue,
incised.
but
The manufactory is now carried on by Ricardo Ginori, and

some excellent specimens were exhibited at the Turin 191 1 Exhibi-
tion by him, receiving the Grand Prix in recognition of their merit.
CASTELLANI— CASTLEFORD 123
Carlsbad (see Pirkenhammer).

Carl Theodok (see Fkax'Kenthal ,iik1 Lidwigsburg).
Cassel (see Hesse-Cassel).
Castel-Dlirante (see Majolica).
CASTELLAN I, Torquato, Rome.
In the last Paris Centenary International Exhibition there

were some clever original groups and figures in Italian faience
signed by this artist potter.
Castelli, near Naples (see Majolica).
CASTLEFORD POTTERY, near Leeds.
A small pottery was started here some i 2 miles from Leeds

about 1790, by David Dunderdale, who made a fine white stone-
ware not unlike salt glaze in appearance, also a kind of cream-
coloured earthenware like the Leeds ware, but inferior in quality.
Imitations of Wedgwood's basallcs were also made here. The
stoneware is similar to some of Turner's ware, and a favourite
ornamentation is the use of thin blue lines and of medallions
in relief. The author recently saw a set of three obelisks on
pedestals of good Castleford Pottery in the possession of Messrs.
Spink & Son, which had the oval relief cameo-like medallions on
the pedestals, the obelisks themselves being painted with flowers.
When specimens are marked they bear the initials of the firm,
D. D. & Co., and the word CASTLEFORD, sometimes CASTLE-
FORD POTTERY.
These works were closed in 1820, but afterwards came into
the hands of Thomas Nicholson & Co., who used the mark of
their initials, T. N. & Co., within a garter, which is surmounted by
a crown.
Only the better and more unusual class of specimens realise
high prices. One can generally buy a tea-pot of the kind described
above— that is cream-coloured stoneware with cameo medallions
—
and blue lines for about £2, los. to _^3, los.
124 CAUGHLEY
CAUGHLEY, near Broseley, Shropshire (also called

SALOPIAN).
A factory of earthenware was established here about 1751.
In 1772 the business was acquired by Thomas Turner, wiio had
LAUCiHl.KV.
1. Ju!4 painted in blue, "James Kennedy, 1778."

2. Mug painted in blue, birds and fruit.
3. I'late, blue Chinese landscape and figures.
been employed at Worcester, and who, rebuilding the works, com-

menced to manufacture porcelain. His paste was excellent so —
good, in fact, that until lygo he supplied Chamberlains with large
quantities of undecorated porcelain, to be painted at Worcester.
CAUGHLEY 125
Turner was the first England to employ printing on

potter in
an extensive scale, decoration of porcelain as distinct from
in the
pottery. He also invented a beautiful dark blue colour, which
was largely used at Caughley.
The mark on Turner's later productions is the word " Salo-
pian " impressed in the paste and from this fact, and also because
;
it was so called when Turner opened his " Salopian china ware-
house " in Portugal Street Lincoln's Inn, in 1780, many collectors
"
know the china by this name, and only give the title of " Caughley
to that which bears the Arabic numerals as marks. Domestic
china was chiefly made, and the willow pattern in bright blue on a
white ground was a favourite decoration ;but many services were
made almost exactly like the sparsely decorated Worcester, and
in the Trapnell collection there was a fine Worcester cup with a
Salopian or Caughley saucer made to match this is now in Mr.
:
H. E. W. Hughes' collection. The late Major-General Astley

Terry had a milk-pot of black basalt ware, exactly like Wedgwood,
which bears the Salopian mark. A specimen cup in the possession
of Messrs. Law, Foulsham & Cole bears the very unusual mark
of a lion rampant under a crown.
In 1799 John Rose & Co., the proprietors of the Coalport
works, bought Mr. Turner's business, which they transferred to
Coalport about 181 4 or 1815. Marks:
SALOPIAN
or
Salopian.
Caughley. Thus. Turner. Estab''.
1772. Willow pattern. 17S0.
Died 1799.
I 26 CA UGH LEY
So s
These Arabic numerals are marks altribuled to Caughley on the authority of Mr. R. W.
Binns, who says that he has never seen them upon specimens which he can identify as
Worcester. They were formerly attributed to the latter factory.
The following additional marks are on some Caughley speci-

mens in Mr. Edmund Broderip's collection, and do not appear
to have been hitherto published :
—
i^ ) 7|V
CHANT ILLY 127
CHANTILLY, Dept. Oise.
This important French factory of soft-paste porcelain was

one of a group founded by unfaithful artisans from the St. Cloud
manufactory. One named Cirou is said to have carried the
secret to Chantilly in 1725, under the patronage and support
of Louis Henri, Prince of Conde, who ten years later (1735)
granted him a concession for the manufacture of porcelain " in
imitation of the Japanese." The factory appears to have flourished
considerably, and the brothers Dubois, whose names occur in
the history of porcelain-making at Vincennes, assisted in the
management, leaving Chantilly about 1738 to go to Vincennes.
Cirou died in 1751, and after this time the factory appears to
have changed hands several times, until by an act of sale quoted
by Cte. de Chavagnac it
passed on 6th F"ebruary
1792, into the hands of
one Christopher Potter,
descrilied as citizen of
London.
In the earlier period
of manufacture an opaque
glaze was used, and the
forms and decoration show Tea-pot of Chantilly porcelain (early period).
the Japanese influence:
thus the flower-pots, tea-pots, and jugs have quaint Oriental
animals, lizards and reptiles, for handles, while the decoration
is slight and now
in the style recognised as Kakiyemon.
Knife-
handles appear to have been a specialite of this time. In the
later productions we have table services, and also figures with
costumes of the latter half of the eighteenth century, and instead
of the opaque-looking enamel, we find a clear lead glaze. There
are several specimens in the Victoria and Albert Museum, par-
ticularly in the Fitzhenry collection recently presented. The
factory closed at the commencement of the French Revolution.
Its distinguishing mark was a hunter's horn, generally in blue,
but sometimes in red, and also scratched in the paste. This
horn occurs in a great variety of forms, and in the Histoire des
manufactures franfaises dc porcelain, over thirty illustrations
are given of the different marks appearing on specimens of Chan-
tilly, all of which are supposed to represent the French horn.
128 CHELSEA
In the collection of soft-paste porcelain recently given to the
Victoriaand Albert Museum by Mr. Fitzhenry there are some
costume figures made at this factory. These are very seldom
found.
%/
M. Pigory revived the manufacture on
—~
j^
1803.
lines in
less artistic
(}^^ Mark used by M. Pigory. This letter P also occurs

Chantilly. in various formations,
CHELSEA.
The early history of thismost celebrated of English china
manufactories involved in some obscurity.
is We know, how-
ever, that a factory of glass had existed at Chelsea at a very early
date and as a considerable quantity of pounded glass formed one
;
of the component parts of the material used in the

first attempts
at porcelain manufacture, it may

be assumed that the rage for
porcelain which the importation of the Oriental china had caused,
and which had received an impetus from the success of the factory
established at Meissen, caused the chemists and others connected
with the glass factory to turn their attention to experiments for
the production of porcelain. The clay first used is said to have
been brought in ships as ballast from China, but its exportation
was prohibited when discovered. Mr. Jewitt attributes the com-
mencement of the Chelsea works to John Dwight, who in 1684
had been granted a patent for his manufactory at Fulham, he
having claimed to have solved " the mystery of making transparent
porcelain."
Under the reign of Queen Anne the factory does not appear to
have flourished, but with the accession of the House of Hanover
an impetus seems to have been given to it by the royal support
and the employment of foreign artists. It can be readily under-
stood that as other German princes, together with the King of

Naples and princes and nobles of France, had ceramic factories
under their protection, our English moiiarchs would also be
anxious to add the fashionable pursuit of china-making to 4heir
J c
= (\
<
<4h.
-s &
')
3
„ o
o —
-^ T]
r
—
CHELSEA 129
amusements. The Chelsea factory was accordingly re-established

about 1745, under the patronage of William, Duke of Cumberland,
and Sir Everard Faukener, Postmaster-General.
Nicholas Sprimont, a foreigner, and silversmith by trade, is
generally considered to have been the first manager but according ;
to Mr. Nightingale he was preceded by one Charles Gouyn, of

whom, however, little is known. It was Sprimont who made the
Chelsea works famous and under his management, from 1750
;
until his retirement in 1768-69, the finest specimens were

produced, and the factory in all respects reached the height of its
prosperity. Horace Walpole, writing in 1763, mentions a present
from the King and Queen to the Duke of Mecklenburg of a
service costing _î200. The pieces of this service were decorated
with birds in the centre and panels of rich lustrous blue in the
borders, and specimens command high prices when they are
offered for sale, as much as -^35 a plate being realised at auction,
with proportionately larger sums for the more important pieces.
The general returns of the factory a few years previous to this date
amounted to about ;^35oo per annum, and its staff consisted of a
hundred men, and thirty boys in process of training. Mr. Jewitt
gives some very from the work-books, showing
interesting extracts
the wages earned by those who worked at the Chelsea factory ;
one of them is copied here :
" Boreman, chief painter, 5s. 3d. per day Jinks, Snowden,
;
Barton, 3s. 6d. per day Gauron, 8s. yd.

; Roberts, 2s. 6d.
;
;
Piggot, IS. gd., and is. 6d. Sunday, for taking care of the horse
(used for turning the flint and clay mills); Thomas (turning the
wheel for a thrower), is. 6d. Inglefield, is. 8d. per day."
;
About 175 1, Sprimont issued the well-known "Case of

the Undertaker of the Chelsea Porcelain." The case, which is
fully quoted in Marryat's Glossary, was a protest against the
importation of Dresden porcelain, which paid a duty of eight-
pence a pound-weight, and was then only to be imported
for private use, but which the " case " clearly showed to be
imported largely for sale, a practice detrimental to the English
manufactory. The protest, however, does not appear to have
been successful.
In 1764, the whole undertaking was advertised to be sold as
a going concern, " as Mr. Sprimont, the sole possessor of this rare
porcelane secret, is advised to the German Spaw." No sale was
effected, apparently for in April 1769, a fresh advertisement ap-
;
peared, announcing the sale of the plant, materials, and building,

I
I30 CHELSEA
by order of the proprietor, who had recently "left off" the
manufacture.
In 1770, the works were sold to Mr. William Duesbury, the
proprietor of the Derby factory, and though he for a time carried
on the two concerns jointly, the models and workmen were
ultimately removed to the Derby works in 1784. From 1770,
or, according to some authorities, from 1769 to 1784, when
Duesbury carried on both factories, is known to collectors as the
Chelsea-Derby period, and the marks are distinct, as will be seen
at the end of this notice.
The decoration of the early pieces of Chelsea china from
1745, which is the first date that is known to be marked on
any specimen, is either in the style of the Chinese or in that
of early Dresden — sprays of flowers, leaves, insects, and butter-
flies, in what has now become generally recognised as the
" Kakiyemon " taste — whilst the moulded ornament of the article
itself suggests the silversmith more than the potter. There is
also an entire absence of gilding, and the cups, saucers, plates,
and dishes have generally a brown edging which later on is re-
placed by gilding.
The figures which were first made have also little decoration
besides small sprigs of flowers on the dresses, which are charac-
teristic of the period, and it is not until Roubiliac's time that we
find the gorgeous costumes and handsome gilding which make
products of the second period of Chelsea so rich and decorative.
The paste of the earlier specimens has a peculiarity that
collectors have noticed. When held to the light several moon-
shaped discs appear, which are more transparent than the
remainder of the piece, and Mr. William Burton explains this
by saying that in mixing the paste the Chelsea potters kept
some of the "frit" coarse, that is, not powdered, in order to
prevent the piece losing its shape in the firing —
that is to say,
those coarse pieces of " frit " stiftened the whole. Soon after
Sprimont's acquisition of the works he seems to have made
experiments with bone ash, and the composition of the paste
was altered it is only in the very early specimens that we
;
find that peculiar glassy paste, very white in colour, and having
much the appearance of semi-opaque glass.
Some of the first pieces produced at the Chelsea works were
unmarked, but the sign generally adopted was an anchor in red
or brown, and also on some pieces, though rarely, a small embossed
medallion with the anchor in relief, either plain or coloured. Mrs.
CHELSEA PORCELAIN.
Figure of Britannia, the largest known figure specimen of Chelsea.
In the collection of Mrs. Lionel Phillips.
CHELSEA 131
Arthur R. Macdonald has several specimens of this very early

period with the medallion mark in some cases the anchor is
;
coloured, either red or mauve, and sometimes the whole is white.
Mr. H. Manfield has a pair of partridges, one of which has the

medallion raised mark, while its companion bears a sketchy red
anchor without medallion. The mark of Iwo anchors in gold,
one inverted, was apparently reserved for the best pieces. The
writer's experience goes to prove that the gold mark is not neces-
sarily a sign of the highest quality, as has been stated by some
experts, but the mark being added by the gilder who was the
last to decorate the specimen, shows a method of marking which
came into use after gilding became more common.
The celebrated French sculptor, Louis Francois Roubiliac,
was employed at Chelsea in Sprimont's time. Some of his figures
have an R impressed in the paste, but many pieces, which are
undoubtedly of his modelling, are unsigned. The figures and
groups modelled liy Roubiliac are far more graceful than those
of the ordinary Chelsea make as a rule they are very richly
;
decorated in colours and gold, and marked with the gold anchor.
Roubiliac worked in England for some seventeen or eighteen
years previous to his death, w^hich occurred in 1762, so we can
fix an approximate date for his work at Chelsea. Mrs. Lionel
Phillips possesses a remarkable pair of figures of a Shepherd and
Shepherdess, formerly in Dr. Mavor's collection. The same lady
also possesses the extraordinary figure of Britannia mentioned in
Chaffers as the largest figure in existence (it is 2 ft. 2 in. high).
It was formerly inMr. F. J. Thompson's collection. We give
an illustration of this important figure.
Three very important figures (see illustration), which are in
Mr. Claude Watney's collection, bear the mark of Roubiliac.
There is no doubt that this modeller was inspired by the
pictures of Francois Boucher. The author recently saw two prints
of this artist's pictures, " Vagreable Lecon " and " Le mouton favonri"
which are without doubt the originals from which Roubiliac
modelled the beautiful group, "The Music Lesson," which realised
1750 guineas at Christie's in May 191 1, while the second-named
subject is the original of another well-known group, " Shepherd
and Shepherdess with Lamb."
There appears on some of the figures bearing the impressed
" R " of Roubiliac,
and on others unsigned, but of similar date and
character, the monogram
"t3\/," the J being joined to the M. This
is apparently a workman's or modeller's mark who did the actual
2
132 CHELSEA
work or " cutting up." Mr. Charles Gilbertson has several
figures so marked.
While these pages are in the press a pair of groups of two
figures each, representing the Seasons, modelled by Roubiliac, 1
inches high, were bought at Christie's by Mr. Amor for 950 guineas
(see illustration), and the same dealer also secured the magnificent
centre group 15^ inches high, "The Music Lesson," for the record
price of 1750 guineas in a sale at Christie's on May 4, 19 11.
Besides the ordinary Chelsea figures in arbours of foliage and
flowers, and the services decorated with long-tailed exotic birds
which are familiar to most collectors, there are some few special
classes of Chelsea china, specimens of which the collector should
take some pains to acquire. These are, however, difficult to find
and expensive to purchase.
I. The pieces having rich ground colours in claret or
crimson lake, in pale green or turquoise blue, and in rich deep
Vincennes blue. The latter are sometimes decorated with gold
ornaments only, sometimes with panels of figures, birds, or flowers
on white ground, and notable examples of them can be seen
in the Lady Charlotte Schreiber collection in the Victoria and
Albert Museum the famous " Foundling " vase in the British
:
Museum is also a striking example. In the Jones Bequest, Victoria

and Albert Museum, there are some charming specimens of
these pieces with rich His Majesty the King
ground colours.
has a very fine pair of vases of this description, with dark blue
ground. Probably the most valuable set of Chelsea vases in
existence is the extraordinary set of seven formerly in the collec-
tion of the late Lord Burton, of which we are able to give an
illustration. These have the rose-pink ground colour, are richly
gilt, and superbly painted with mythological subjects after the
manner of old Sevres. In 1900, a set of three vases of this

ground colour, from the collection of Lord Metluien, was sold
at Christie's for ^3000 but Lord Burton's vases are more than
;
double the size of these, and their completeness as a set, and their
fine condition, are remarkable. It would be hazardous to guess
what sum such a set of vases would realise if offered for sale.'
Since the first edition of this book was published the Victoria
and Albert Museum has been enriched by the bequest of the late
Miss Emily Thomson, of Dover, of a collection of china, which
includes a fine service of this crimson lake ground, painted with
figure subjects in panels. Some idea of the enormous increase in
' These vases were sold in 1903, Imt tlieir present ownership cannot be stated.
CHELSEA 133
value of this kind of Chelsea china may be obtained by comparing

its present vakie with the quotation from one of Mr. Nightingale's
collections of Christie's Catalogues, where

same service
either this
or a similar one is stated to have been sold
by auction on
February 14, 1770, for £42, is. The present value would be
about ^^1500. In a sale of the Hawkins collection, May 1904,
a tea-service of twelve cups and saucers, tea-pot, basin, sucrier
and milk-pot, of the deep "blue de Vincennes" ground with
decoration of gold birds, realised 810 guineas, and the crimson
lake service is rarer and contains more specimens, besides which
the style of its decoration is much more valuable.
2. The tiny delicate Chelsea
and
"Jlacons," or trinkets, toys,
etuis sometimes composed of
single figures and sometimes of
miniature groups, often bearing
French mottoes, and not infre-
quently mounted in gold, are
also well worth the collector's
attention. In the Schreiber, and
also in the Franks collection
(British Museum) there is a
great number of these charming
littleceramic toys. We give
an illustration of several in
Mrs. A. R. Macdonald's collec-
tion. Such tiny little gems are
much sought after, and at sales
realise as much as -^"40 and
_^5o apiece.
3. The figures and groups
which are especially recom-
AChelsea Vase, one of Lord Burton's set of
mended to the collector's at- seven (see the two full-page illustrations).
tention are those which stand
more or less alone, and are not embowered in the rather waxy
Mayflower arbours, so characteristic of the commoner kind of
Chelsea. Of the earlier periods some are very delicate and
graceful, and more like Dresden of the best time, in their
modelling while of the later period the charming figures which
;
a little experience will enable the amateur to recognise as

Roubiliac's handiwork, are the best.
4. Models of birds and animals in early Chelsea are very
—
134 CHELSEA
desirable acquisitions. Some of these are of life size, and others
are so small that they belong to the class of miniature toys
described above. Both the modelling and colouring of these
specimens are excellent. Somethem are arranged as tureens.
of
The formed by the late Lady
rich collection of English Porcelain
Charlotte Schreiber, and bequeathed to the Victoria and Albert
Museum, contains a great many of the very best examples of
Chelsea porcelain. Airs. Lionel Phillips, Mr. Charles Borradaile,
Mrs. A. R. Macdonald, Mr. H. Manfield, M.P., Captain Thistle-
thwayte. The Hon. Robert Ward, Lady Hughes, Mr. J. Ward
Usher, Mr. John Cockshutt, and Mr. Fred Lowenadler, all have
many excellent examples of the different kinds which are here
noticed, and Mrs. Macdonald has many of the tiny y?rtco//s which
were formerly in the well-known collection of the late Sir Julian
Goldsmid.
The well-known " Bee " milk-jugs are
also amongst the earliest specimens of
Chelsea manufacture. (See illustration.)
There are two different models of
these, both of which can be seen in
the British Museum. One of them
bears the incised mark given below
namely, the triangle —
accompanied by
"Chelsea 1745." Another has the tri-
angle only. There are also in the same
collection other specimens of this en-
tirely undecorated early Chelsea, groups
of crawfish, jugs, a bust of the Duke of
Cumberland, and a group of Britannia
weeping over a medallion portrait of
the Prince of Wâles, who died in 1751,
Chelsca "Bee" Milk-jug. and others. There is also a white group
of Lovers which demands special atten-
tion on account of the very rare mark which it bears. This
is a trident and crown combined, and only two other instances
of the mark are known to the author, and that is upon a tall
cup with decoration of the tea plant in relief, the relief part
tinted with colour, which is in the collection of Mr. Frank
Hurllnitt of Flint, N. Wales and a simihu- specimen, but un-
;
marked, is in the British Museum. There is also a cream-jug

of strawberry leaf design in the Sheldon collection. The
Chelsea painters also decorated a good deal of Chinese porce-
'^^<J
<i
c
u
^ 5 c
O S .2
O
^
CHELSEA 135
lain, and several specimens of this work are in one of the British
Museum they are generally cups and saucers of the thick
cases ;
eggshell kind of china, and bear no mark.

The impressed triangular mark was formerly attributed to
Bow, but is now considered to belong to Chelsea, on the
authority of the late Sir A. W. Franks and others with which ;
opinion the author agreement. is in

The earliest dated specimen of English porcelain is generally
considered to be one with the triangle and the word Chelsea
below it, accompanied by the date 1745. The most usual mark,
however, is the anchor, as above mentioned the anchor in red ;
is earlier, and occurs before the time when gilding was used to
enrich the figures, and that in gold appears on the richer figures
of Roubiliac's time. In many cases there is no mark whatever
save three dirty-looking patches which were made by the tripod
on which the piece was baked. These marks, where the base
is glazed, often resemble raised blisters. The bases of Chelsea
figures, as distinguished from those of Bow, are generally flat,
and not raised on scroll feet as are those of the latter factory (see
notice on Bow).
This mark, a medallion in

f
generally colourless,
relief, is
Rare mark on group
but sometimes the anchor is Rare mark on Bee jug in the (Lovers) in llritish
in red or mauve, the re- British Museum. Museum.
mainder of the medallion
being white.
icisedmark. 1
^vL-^
(Generally
in gold.)
»\P>
Chelsea.
early).
m
This mark,
Incised mark
incised
the glaze, is evidently an imitation of
(very
under
Marks used during Chelsea-Derby some Oriental mark. It is *ery rare :
I'eriod, 1769-1784. The anchor and only two specimens so marked are
letter D in gold occur separately upon —
known to the author namely, two
a sucrier of hop trellis decoration in octagonal cups in Mr. Frederick E.
Mr. .\Ibert Amor's possession. Thompson's collection.
136 CHINESE POTTERY
CHINESE POTTERY.
The discovery of the secrets of the manufacture of art
pottery in China, dates as far back as 2678-2599 B.C., during the
reign of the Emperor Hoang-ti, and, whether this date be specu-
lative or accurate, it is doubtless of great antiquity. Very probably,
like other nations, the Chinese acquired the processes gradually,
and improvements upon improvements resulted in a certain de-
gree of excellence while the world was yet young. Possibly this
extraordinary people, prepared for a development of art by their
high state of civilisation, took the more readily to ceramics owing
to the scarcity of marble for the decoration of their buildings.
Chinese pottery differs from any other in the density of its
paste, and for this reason it has not infrequently been confounded
with porcelain, though translucency, the special characteristic of
porcelain, is absent. Some of the earlier productions are of a
dull brownish-red colour. A kind of decoration peculiar to the
Chinese potters, and adopted at an early date, was the crackle ;
this is generally found of a brownish-grey, relieved by raised

ornaments of a dark ferruginous colour, much resembling bronze.
The handles of this type consist of kylins' heads, with movable rings
placed inside the teeth circular ornaments are also found, some
;
three or four upon a vase, at irregular intervals, about the size

of a shilling piece, with seal-like impressions, while bands of the
bronze-like paste surround the lips and bodies of the vases. The
crackle appearance is produced by a very simple method, the
body or pdtc being made more sensitive to heat and expansion
than the coating or glaze little manipulation was required to
;
cause the cracks all over the surface to be more or less frequent,
and so form "crackle" of a larger or smaller pattern; black,
and sometimes red colouring matter was then rubbed into the
tiny cracks, to render this curious decoration more marked.
Another notable style of ornamentation, which shows con-
siderable knowledge of chemistry, is known as " flashed," or
Jlnmbc. It has been supposed that the agate-like specimens thus
produced were the result of mistakes or misfires, but there is
little doubt that the Chinese, possessed of great skill in the potter's
art, endeavoured to make specimens in imitation of many beautiful

agates. It was well knownthat metallic .oxides were susceptible
to the influence ofoxygen. Hy bold manipulation in the furnace,
with a strong current of air, the oxygen would combine with the
metal in fusion the introduction of thick smoke would absorb
;
CHINESE POTTERY 137
the oxygen, and, by causing the destruction of the oxide, give the
colour of the pure metal. To such an extent was this science of
decoration perfected, that it was possible, entirely by this process,
Chinese Celadon Crackle Vase, with ormolu mount (Jones Bequest,

Victoria and Albert Museum).
and without the aid of the pencil, to imitate a ripe fruit some-
what resembling our peach, with its many varied and beautiful
tints.
CHINESE PORCELAIN.
When porcelain was first made in China we know not.
Various dates have been given, from 200 B.C. to A.D. 25, but
138 CHINESE PORCELAIN
it was probably much later. The Chinese reckon their periods
of time by dynasties, and in the notes upon these different periods,
which will be found in the following pages, the reader will find
some assistance in attriliuting to the various dynasties and
" families " many of the numerous and beautiful varieties of
decoration which illustrate the wealth of colour and design
handed down to us by these wonderful Ceramic artists of former
centuries.
In the British Museum there are some fine examples of
Celadon china whicli should be carefully examined, and a dish
with ornament in slight relief which was brought from Khartum,
is labelled "Sung dynasty, 960-1279." This Celadon is the
oldest of the best kind of Chinese porcelain. The beautiful and
peculiar green colour of the glaze, was no doubt perfected after
many trials, so as to imitate the colour and effect of the highly-
prized jade of that tint.
With regard to the date of the famous blue and white Chinese
porcelain, we do not know what authority M. Jacquemart has for
the story that in the year 954 a potter having petitioned Tchi-
tsong to order a pattern, the Emperor replied, " For the future let
the porcelain for the use of the palace, be of the blue, as the
heavens appear after rain," but one may say of the story se tioii e
veiv, e bene Irovato.

The whole range Chinese ceramics is so large and so full
of
of interest, that it is to condense a notice of it within
difficult
the narrow limits of a book which deals with the whole subject
generally.
The reader who is specially interested in Chinese porcelain
isrecommended to read the handbook published by the Victoria
and Albert Museum, written by Dr. Bushell. It contains in
an abridged form much of the information given in his larger
work. This handbook is published at a popular price and is
copiously illustrated.
Chinese ceramics, too, are so bound up with the literature, the
history,and the complicated mythology, for which this ancient
people are remarkable, that it is difficult to treat of it without
some reference to these influences. The sets of five and seven,
the curious monsters that surmount covers and form handles
of vases, the contorted dragons with four and five claws, are not
wholly the creatures of the artist's fancy, but signs and symbols
of religion and politics. Thus, the dragons with five and four
claws, represent the imperial and the ordinary insignia respec-
CHINESE PORCELAIN 139
tivcly ; the kylin is an animal foretelling good luck ; and the

sacred horse, immortal bird, and many another quaint device that
has been passed over as a Chinese oddity by the uninitiated, has
its own distinct significance. As with the devices, so with the
forms, figures, and colours; thus the Ming dynasty adopted green
as a distinctive livery, the Tai-thsing took the colour of the earth,
yellow, while the Thang dynasty chose white.
The plan of a vase, the observation of its angles, or the
scheme of its decoration, should enlighten us upon its religious
significance or the rank of the person who was
allowed to make
use of it. Vases were given both as presents and as rewards
for good and noble deeds, and were highly valued.
The production of exquisite specimens was pursued as an art,
and received the greatest encouragement and court patronage. The
height of excellence may be said to have been attained about 1465,
which date would be included in the period of the Ming dynasty.
All that we can attempt in this notice is to give a rough list
of some of the different classes of Chinese porcelain now sought
after by collectors, and briefly to observe some of their respective
characteristics.
Plain Whitf: Chinese Porcelain. — Some of the most
beautiful pieces of porcelain are those of the delicate texture and
fine creamy glaze, which give the appearance of old soft paste.
Their quaint forms, which have no decoration whatever, except
ornaments in relief, or engraved designs which are only per-
ceptible when held up to the light, are generally of an archaic
character.
—
These pieces, generally cups oval octagonal, or irregular
in —
form are very highly prized in China. Sir A. W. Franks
mentions that a Hong-Kong merchant, who wished to pay a
handsome compliment to an English gentleman, presented him
with one of these delicate little cups. There are also statuettes,
generally of the goddess Kwan-yin or other Buddhist divinities,
also of kylins, lions (the latter distinguished from the former by
having claws instead of hoofs), cocks, hawks, a mythical horse,
and other animals.
Some of this white porcelain is of a very early date, though
a good deal was made during the Ming dynasty. It is known
in Paris as " hlanc de Chine!' In one of the show cases in the
Victoria and Albert Museum, where the Salting bequest has
been arranged, the reader will see a number of specimens of
blaiic de Chine, ranging in date from the earliest period at
— —

which it was produced down to the end of the Ch'ien Lung
dynasty, 1795.
Another kind of white Chinese porcelain is that whicli, though
intended to be decorated, was for some reason left uncoloured ;
many pieces of this kind have been sold to the European markets,
and decorated in Holland and England.
Blue and White. —The use of cobalt blue in the decoration
of pottery had been
use by the Persians at a very early date,
in
probably the tenth century, but it was not adopted by the Chinese
potters until the Yuan dynasty (12 80-1 367), while the earliest
specimens which are in our museums belong to the Ming dynasty.
Cobalt blue was used both alone and in combination with other
colours, throughout this period. Dr. Bushell has classified " blue
and white " into three well-defined periods which can be dis-
tinguished from the rest by the following peculiarities :
" I. The reign of Hsiian Te (1426—35) a pale grey-blue of

pure tint called at the time Mohammedan blue.'
'
"2. The reign of Chia Ching (1522-66) a dark, full-toned

blue of marvellous depth and lustre.
" 3. The joint reigns of Lung Ch'ing and Wan Li (1567— 1619)
a gradually improving technique, especially in the use of cobalt
as a ground wash, foreshadowing the greater triumphs of the
K'ang Hsi epoch."
Some of these blue and white pieces of the Ming time were
mounted in silver and hall-marked during the reign of our Queen
Elizabeth. A fine jug is in the Pierpoint Morgan collection, and
there is a bottle in the Duke of Devonshire's possession at Hardwick
Hall.
The blue and white porcelain K'ang-Hsi period is
of the
of good quality. The density and
beauty of the blue
the
colour have been dependent upon the quality of the supply of
cobalt, and have varied considerably there are differences of
;
opinion amongst collectors as to the comparative excellence of

some of the tints. The blue should be brilliant and the ground-
colour a peculiar white, which it is impossible to describe
accurately, but which sets off to the greatest advantage the simple
but highly effective design of which it is the background. One
finds in "blue and white" every kind of decorative treatment
subjects, landscapes, Chinese games, battles, hunting scenes, also
curious detached representations of various objects, which are
generally termed "utensils" in catalogues, but which are really
emblems of Chinese poetry and mythology. The latter include
the pestle and mortar, the tly-brush, two coins, bundles of

books, various scrolls, a vase placed close to an incense burner,
a cylindrical brush-holder, an ink slab, and a vessel for holding
water with which to moisten the ink slab. These and many more
are all symbolic, some of romantic legend, some of luck, long-
evity, riches, or some other desirable condition. Then there are
the musical instruments, many of which are almost unknown to
our Western ideas, the fabulous animals, the eight Buddhist signs,
the " eight ordinary symbols," the emblems of the eight immortals,
and so on, and the numbers five, seven, and eight, as already
observed —all possessing some peculiar interest in Chmese literature
and folk-lore. We find occasionally in the earlier pieces of

"blue and white" a peculiar glaze which gives the specimen the
appearance of soft paste. Some good examples will be seen in the
Salting bequest. They are especially beautiful.
Blue and white china was imported in large quantities into
Holland, where it was an especial favourite, and it is from that
country that we have chiefly imported the finest specimens which
now adorn our collectors' cabinets.
Until quite recently we were accustomed to see blue and
white Chinese porcelain described as " old Nankin" and this descrip-
tion one still finds in the catalogues of some auctioneers and
collectors. So far as the author's information goes, there never
was any porcelain factory at Nankin, although white china made
at King-te-Chin, Fo-kien, and other Chinese factories is said to
have been sent to Nankin to be decorated. The probable origin
of the name " Nankin " being given to this kind of china, is that
this was the port from which it was formerly shipped to Europe,
and just as Oriental china was called " Indian " sixty or seventy
years ago, because it was brought over by the East Indian Com-
pany's ships, so " Nankin," as the known source, became the
generally acknowledged title of the porcelain.
Amongst the most sought after specimens of " blue and
white" are those generally described as "hawthorn," though the
design really represents the blossom of the prunns or wild plum,
the detached sprigs of which, in brilliant cobalt blue, make one
of the most effective forms of ceramic decoration that can be
obtained.
The most notable example of the auction value of a ginger
was the famous one sold a few years ago in
jar of this decoration,
the Louis Huth collection, which realised £sôo, and which is
said to have been bought by Mr. Huth for £2^^. This was a
price beyond reason, and one can illustrate this by referring to
a precisely similar jar, in the Victoria and Albert Museum, which
was purchased from the Orrock collection for ;£2 30.
—
Flambe Porcelain. The process employing what is called a
reverberatory furnace was subsequently applied in the production
of porcelain as in the manufacture of the " flashed " pottery
already described. Some charming results were obtained in many
of those beautiful self colours that collectors delight in amongst ;
others, turquoise, sang de been/, liver colour, coral, lilac, peach

bloom, crushed strawberry, orange, lemon, c^/ri an lait, brown,
mustard yellow, dark blue, pale lavender, and bronze, "iron
rust," with many other peculiar colours difficult to describe.
There are a great many excellent specimens of this class of china
in the British Museum.
Famille Verte. — The Ming dynasty occupied a period of
nearly 300 years from A.D. 1361 to 1643. It is within this period
that the beautiful enamelled porcelain known as ^^ famille verte"

was first produced. The prevailing colour is green, of different
shades, sometimes with pale yellow in the panels, and occasionally
with a portion of the decoration in blue under the glaze while ;
the figures, subjects, dragons, baskets of flowers and various

symbols, Buddhist and otherwise, are applied in pigments over the
glaze, the piece being then retired at a temperature sufficiently
low not to interfere with the primary decorations. These later
decorations stand out in slight relief like enamel, from which
peculiar characteristic it is frequently termed " old green enamel."
A famille verte vase in the Salting collection is considered to be the
finest in the world, and has been estimated at ^10,000.
Powdered Blue. —
The date of what is called " powdered
blue" china is said to be the K'ang-Hsi period (1661— 1722);
this variety is at the present time in very great demand among
collectors. Its peculiar mottled ground is sometimes only re-
lieved by gold pencillings, but in the most highly esteemed
specimens there are irregularly shaped panels with some of the
emblems, charms, symbols, or subjects before alluded to on a
white reserve, which throws the panels into contrast with the
powder blue ground-colour of the vase. If this ground-colour
be not too dark, and not too liglit, and these emblems are in what
has been already described as ^^ famille verte" decoration, then,
provided the " form " of the specimen be good, we have a perfect
piece of "powdered blue," which will command a very high price
from the wealthy and fastidious collector.
The peculiar ground-colour of this variety, known as

" powdered blue," is obtained by blowing the powdered colour
through gauze on to the wet white body, wliich is subsequently
glazed and fired.
—
Famille Noire. The peculiarity of this decoration is that
Fine Specimen of Old Powdered Blue Cliinese I'orcelain, witli panels of lilue decoration.
In the collection of the Rev. Arthur Potts.
if the brilliant black ground-colour be closely scrutinised, one can

detect green above the black, which is singularly
a coating of
effective upon this the sprigs of the wild plum or cherry blossom
;
in white, stand out with excellent results. Some idea of the high
"
value placed upon a really fine specimen of the "famille noire
may be given by referring to Mr. George Salting's collection in
the Victoria and Albert Museum, in which there is a square-shaped
vase for which former owner gave a thousand pounds, and this
its
specimen would now probably realise more than three times that
amount. The Salting collection contains several important vases
with this rare and valuable decoration.
—
Famille Rose. Quite at the end of the K'ang-Hsi dynasty
Chinese enamelled Porcelain V)\sh, /a//n//e rose. In the author's possession.
we have the "famille n>s<'

" decoration, so called from the prevalence
of the rose or pink colour. The period generally ascribed to
"famille rose," as also to the beautiful egg-shell porcelain, is the
Yung-Cheng period (1723-35) and also the Ch'ien Lung (1736-95)
which followed, although, as already observed, it actually com-
menced towards the end of the preceding dynasty. A peculiarity
attaching to one special class of the most highly prized egg-shell
Chinese porcelaim 145
china, which is termed "ruby backed," is the custom of placing
this richcolour on the backs of the plates or saucers so decorated.

The piece therefore has to be turned upside down to display
the colour which so much enchances its value.
In the class of " famille rose " is also generally included the
china decorated with the peony, a very handsome bloom indi-
genous to China and with this, as with the famille verte, one
;
finds the decoration, eitherwholly or in part, slightly raised above

the surface in enamel colours.
Jesuit China. —
Occasionally we find specimens of what is
undoubtedly Chinese porcelain, the subjects of which are, how-
ever, distinctly European. Some are representations of the
Crucifixion or other Biblical scenes, and instead of being
painted with a brush the decoration seems to have been drawn
with a pencil or fine point. This is called " Jesuit china,"
because it is said to have been painted to the order of, and
from designs supplied by, the Jesuit missionaries.
About the same period as this " Jesuit " china one finds
specimens, generally parts of tea services, decorated with European
subjects, processions and ships, officials receiving deputations, and
similar representations. These services were doubtless made for
the Dutch market, or for private orders from Dutch patrons, at
the time when the trade between Holland and the East was
so largely carried on, before England had opened up the trade
with China.
RE-DECORATED CHINESE PORCELAIN.

A good deal of white porcelain has been from time to time
imported into Europe, and there decorated. Much of the so-
called "Lowestoft" is of this kind.
There are also, in many public and private collections, speci-
mens of Bow, Chelsea, and Worcester, which were undoubtedly
sent from China in the white undecorated state, and painted in
those factories. The tea-pot in the Schreiber collection painted by
Robert Allen of Lowestoft, and signed by him, is an example of
this description, and there are numerous others. Oriental china
was also redecorated in France, Germany, Italy, and Holland.
There is a description of Chinese known as " Clobbered," to
which we must give a word of notice. When the duties on
imported porcelain were, about seventy years ago, made higher
for coloured, i.e. polychromatic, and lower for " blue and white,"
K
146 CHINESE PERIODS IN DYNASTIES
was imported into England from Holland,
a quantity of the latter
over-painted with dragons, monsters, foliage, and other orna-
ment, and sold for decorated Oriental china. It is possible in
many cases to detect some of the original blue decorations

showing through the newer colours here and there. Clobbered
china is of little value.
CHINESE PERIODS IN DYNASTIES.

We have now given a brief description of some of the different
kinds of decoration of Chinese porcelain by the names under
which they are known, such as fainillc verte, famille noire, faiiiillc
rose, " blue and white," and " powdered blue " but as the classifi-
;
cation recently adopted is that of dynasties, it may be useful to

add a list of the more important of these, together with their
dates. The notice of the methods of decoration which distin-
guish the porcelain of these different periods must to some
extent be a repetition of the information already given about the
"families," but it will be seen that these overlap with the various
dynastic periods, and moreover a better acquaintance with these
periods will help the reader to understand how to attribute a
specimen to its correct dynasty.
Sui Dynasty (a.d. 581-617).

The period when we first have direct evidence of the manu-
facture of porcelain in China. Specimens are attributed with some
uncertainty.
Sung and Nan Sung Dynasties (960-1279) and

Yuan Dynasty (1280-1367).
Porcelain of these periods is of a thick, heavy type, generally
Celadon green the forms are primitive and archaic, with entire
;
absence of painted decoration. Single coloured glazes were used,

and towards the end of the time souffle, flambe, and crackled porce-
lain was made, also plain white.
Ming Dynasty (1368-1643).

This was the period of the greatest development of ceramic
art in China. The porcelain itself is of more delicate substance
than previously, and the v.uieties of decoration are numerous.
a
o
o
w
CO
W
n
CHINESE PERIODS IN DYNASTIES 147
They include the kylins and other monsters, the figures of Kuan-Ti,
the god of War, of the goddess of Mercy (Kuan Yin), and of other
deities and mythological personages, decorated with green, yellow,
brown, blue, and purple glazes. Dishes, plates, and vases are orna-
mented with designs formed of raised outlines forming cluisoits,
filled in with coloured glazes. The " blue and white " of this
period is of the bolder kind of decoration as regards foliage and
figure work, and, as has been already stated, some of the earliest
white porcelain belongs to this time. The decorations described
on a previous page a^ famille verte commenced during this dynasty,
and continued into the following one. A double blue line round
the base of a vase or on the bottom of a dish is considered to be
an indication of a piece being " Ming," but too much importance
should not be given to this.
A notable period coming within the Ming dynasty is the
reign of Wan-li (1573— 16 19), when enamel colours above the
glaze were first used, and this is probably the time of the earlier
faniiUe verte.
At the commencement of this dynasty, Hung Wu, its founder,
rebuilt the imperial porcelain manufactory at Ching-te-chen in
the province of Kiangsi, and from this time, according to Dr.
Bushell, who is our best authority on the history of Chinese art,
artistic work in porcelain became the monopoly of this factory,
which has developed enormously until its furnaces number
many thousands. Dr. Bushell adds that " all the older glazes
of repute have been reproduced here in succession, and many
newer methods of decoration have been invented, to be distributed
from its kilns throughout China, and sent by its trade routes to
all parts of the non-Chinese world. Many of the other factories
have either disappeared altogether, or degenerated to provide a
coarser ware for local consumption."
K'ang-Hsi Dynasty (1661-1722).

This is a highly important period of Chinese porcelain. The
forms of vases are much more varied and more graceful than
during the Ming period the continuation of the faiiiillc verte
;
is carried to perfection ; ground of the

the lustrous black
famille noire already described is at its best, and the " blue and
white " is more free in its decorative treatment. The " prunus "
blossom and the wonderful blue ground known to collectors
as "pulsating blue," with lines of division indicating cracked ice,
148 CHINESE PERIODS IN DYNASTIES
are of this time. The beautiful flambe or flashed porcelain previ-
ously described, and the best pieces of self-coloured porcelain, all
belong to this period, which from a decorative point of view is
certainly the best in Chinese history. Towards the end of the

dynasty, the beautiful rose colour produced from gold, is intro-
duced, and we tind chrysanthemums, peonies, and roses all pressed
into the service of the ceramic artist and grouped and arranged
in wonderfully artistic renderings. This is the commencement
of the decorative manner already described as famillc rose.
During this period we have etched patterns and embossed designs,
openwork, or astermed, " reticulated " ornamentation, also the
it is
imitations of jade, marble, and precious stones, bronze, &c. &c.,

in fine glazes.
Yung-Cheng Dynasty (1723-35). Ch'ien Lung

Dynasty (1736-95).
These two periods may be taken together, and they are the
last of which the collector of o/d Chinese porcelain takes any
account. Productions attributed to any time after this, although
eftective for decoration, are scarcely collectors pieces.
The " ruby-backed " form of decoration has already been
mentioned, and belongs to the Yung-Cheng dynasty. The faiuiltc
rose decorative treatment is continued and elaborated, becoming
more intricate and minute the peony and the chrysanthemum, the
;
sacred lily, the fungus, and many other typical ornaments,' are
very much in evidence, and wonderful processions of figures and
all and kinds of subjects are introduced, together with
sorts
carefully and sometimes over-laboured details of ornamentation
in borders and in groundwork. The treatment becomes gradu-
ally less broad and masterful, and towards the end of the dynasty
tends to deterioration. During this period the influence of the
western world is noticeable, and foreign designs and decorations
are adopted.
The Salting bequest, now rearranged in the Victoria and
Albert Museum, has given us an opportunity of studying some
fine examples of the different periods noticed in these pages, and
with the Museum Guide for reference the amateur should be able
to learn to distinguish the peculiarities and characteristics of the
workmanship of these extraordinary craftsmen and appreciate the
beauties of Chinese porcelain. The other most notable collec-
tions of Oriental china are those in tlie Metropolitan Museum
CHINESE PORCELAIN VASE OF famillc
noire (K'nng-Hsi dynasty).
Victoria and Albert .Mtiseiim (Salting Bec|uest).

»
CHINESE DYNASTY AND PERIOD MARKS 149
of New York known as the Garland-Morgan collection, and that

in the Louvre known as the Grandidier collection.
MARKS
The marks on Chinese pottery and porcelain are so numerous
and complicated that a complete list of them, together with suffi-
cient explanations to make them intelligible, is quite beyond the
design or compass of this book. In the most recent edition of
Chaffers, Chinese marks occupy no less than thirty pages, and
for the purposes of this work it has been thought sufficient to

reproduce from that book, by the courtesy of the publishers, only
the main dynasty and period marks. Another reason for the
omission of all other marks is that in many cases they are very
misleading to any but the experienced collector, inasmuch as the
Chinese potters themselves have, when reproducing an earlier
specimen, carried their love of imitation so far as to add to the
reproduction the mark upon the original specimen.
PERIODS.
SUNG DYNASTY, a.d. 960 to 1127. j^
NAMES OF PERIODS. A.D. NAMES OF PERIODS. A.D.
S ^S Kiug-te . 1004 ;,f[ ^ ^/">«^ •

i°64
' •
«
Ticn-shing
1023 y^ -^ Yuan-fufig . 1068
Ming-tao ..
.
50 CHINESE DYNASTY AND PERIOD MARKS

NAMES OF PERIODS. A.D. NAMES OF PERIOnS. A.D.
I-ho .
I lOI
t'i- r Chiius-ho
I lOI
'^1
71^ ^
-»2i Tsiiiig-ning .]
2F^ rt(z Cheng-ho .

^^ E£.ii
Ta-clman
I 120
^j^^ Ct] Chicn-clmng iS Jt Chiiip-kang
NAN-SUNG DYNASTY, a.d. 1127 TO 1279. ^ _^

NAMES OF PERIODS. A.D. NAMES OF PERIODS. A.D.
^^^^ /K* Chen-tan :^,% ^ Tnan-piug .\
I I 27 1225
i^ llql^ Shao-hsing . i
ran
\W
» •
Hal. hsi
.'
Ljing-hsing
P/^ J]^
Vv I nx Pao-ching
CS^
Sr ^^ CIncn-tao 1 163 1225
Sliao-tinsr
'1^2 I^P Titn-Iisi

i% ife
^'^ l&i Shao-hsi . I 190 ^L to

/-5-
Hsini-tini . 1265
• i."^ ^1*
""'"^'-yuan
1% A. 4P, ^'t^ ^^--^"' • ^-75
hai-iai
1195 S J Ching-lan . 1277
^^ 'î^^ Cheang-hsing 1278

YUAN DYNASTY (Tartar), a.d. 1279 to 1368. j?

152 CHINESE DYNASTY AND PERIOD MARKS
NAMES OK PERIODS. A.D. EMPEROR.
1457. Ying-tsoung.
9^)i
1465. Tchun-ti.
TAI-THSING DYNASTY. ^ {-.

—
154 CHOISY-LE-ROI
there are six, denote the dynasty ; the first of all +* , meaning
" the great " the third and fourth characters signify the name
;
of the period of each emperor. These characters may be

placed in three columns of two marks or two columns of three,
thus :
It Ta-iiiing tcliiitg-hoa itieii-lchi. "In

4
the reign of Tchun-ti, of the great Ming
fl^ dynasty, in theTching-hoa period" (1465
to 1487).
Ta-iitiiig siom'u-tc nien-tchi. In

the reign of Hiouan-tsung, of the
great Ming dynasty, in the Siouen-
e HBfe period "
(1426 to 1435).
CHURCH GRESLEY— CLERMONT-FERRAND 155
CHURCH GRESLEY, DERBYSHIRE

Sir Nigel Gresley established a small porcelain factory at
Gresley Hall, the country home of the Gresley family, in 1794,
with the assistance of his friend, C. Bower Adderley, but although
good workmen were employed it was not a commercial success,
and passed from his ownership about 1800. Probably the manu-
factory, such as it was, never had the advantage of the guidance
of a business man, and was run as a hobby. A Mr. Brown, who
bought Gresley Hall, informed Mr. Chaffers that his family re-
"
tained the place until 1851, and that many dozens of "wastrels
were found, plates of fine transparent china, some with tree and
bird decorations, which being imperfect had never been finished.
Nothing much was known about this factory until a Mr.
Walter Nadin, who was related to a former owner of a factory
at Church Gresley, contributed an article to The Expert, and
owing to the information thus published several specimens were
identified. The Nadin who owned the factory in the year
1800 was no more successful than Sir Nigel Gresley, and he
sold it to a Mr. Burton of Linton, who discontinued further
working in 1808.
In appearance the china closely resembles Pinxton, which is
inferior to Derby porcelain but of somewhat similar character.
Very few specimens are marked, and even when they do bear
CHURCH GRESLEY impressed on them the letters are so
indistinct that it is difficult to decipher them, and therefore
without doubt many examples of this factory are attributed to
Pinxton.
Mr. Albert Amor had a set of three plant-holders decorated
with a trellis inyellow and gold, with panels of bouquets of
flowers indifferently executed, on a coarse body. One of them
was impressed with the mark, and is one of the very few marked
pieces which has come under the author's observation.
There was also a commoner description of ware made here
and decorated with Cobalt blue. A mug of this kind is in the
BritishMuseum.
Mark: CHURCH GRESLEY impressed.
CLERMONT-FERRAND, Puy-de-Dome.
Faience was made here in the last century;
very little is
known of the factory, and pieces are exceedingly rare.

;
156 CLIGNANCOURT
Marks
CLERMONT.
7734.
S-ijatdcr 4756
CLIGNANCOURT, Dept. de la Seine.
A small was established here by Deruelle, who obtained

factory
the patronage of "Monsieur," afterwards Louis XVIIL, and
marked his productions with the cypher M under a crown.
Another mark was a windmill, and sometimes Deruelle used his
cypher imperfectly stencilled in red. There is very little to
distinguish the specimens of this manufactory from many other
French hard-paste fabriqucs.
Cl.lGNAN'COURT. Established 1775.
Monsieur.
JC*^
Louis Stanislas Xavier. Monsieur

Comte de Provence.
m
OlJ
Ci.ii;nancoukt.
M. Moitte, who succeeded Deruelle, used his name as a

mark.
COALBROOK DALE 157
COALBROOK DALE (known also as Coalport)..
Tliis factory, founded by the enterprising firm of Jolin Rose

and Co. between 1780 and 1790, absorbed the Swansea manu-
factory in 1820, that of Nantgarw in 1828, and that of Caughley
in 1799.
The productions of Coalport vary exceedingly, from very
highly finished and carefully decorated specimens in the manner
of old Sevres, to rather poor imitations of Dresden china vases
and cups and saucers, of the time when encrusted flowers were
the fashion. Imitations of Chelsea and Worcester were also
made here. Some of the finest pieces of Coalport have, from
their close resemblance to Sevres china, been passed off as
such and a good story was told to the author by the late Mr.
;
Cock, Q.C., who was a personal friend of Mr. Pugh, a recent

proprietor of the factory, which illustrates this. Mr. Pugh,
when in London, purchased what he considered to be a good
specimen of old Sevres for some ;^"6oo, and showed it to
his foreman at the works, with the remark that they must
endeavour to obtain a closer resemblance with regard to certain
details. The foreman listened, and then dryly observed, that
inasmuch as the " model " vase was one of their oivn make some
years since, he did not think that there should be much difficulty
in matching it.
It is by no means infrequent to find that a service of old
Sevres has been supplemented, or the losses by breakage made

good, by pieces of Coalport and the uninitiated are surprised
;
sometimes, when at Christie's a dozen real Sevres plates are sold

for some ;^5o or ;^6o, while the next lot, a dozen of the same
pattern, realise only £-^ or ^4.
Really good specimens of this factory, not in exact
imitation of other factories, but of good colour and de-
sign, and bearing the legitimate mark (the best is the mono-
gram CBD in gold), are much appreciated, and command a
fair price. Several specimens are in the and Albert
Victoria
Museum.
At Mr. Rose's death in 1841, he was succeeded by his
nephew, and subsequently by Mr. William Pugh.
—
158 COLOGNE STONEWARE

Marks :
\DO-CtL/LO/^t.
e.S).
CLle/.
Mark used afler the Swansea, Nantgarw,
and Caughley Works were purchased.
was sometimes used after

Tlie letter S, scratched in the paste,
tlicpurchase of the Caughley factory {q.v.).
Within the last few years a company, entitled the " Coalport
China Company," has been formed to carry on the works, and
the mark now in use is an imperial crown, with the words
ENGLAND and COALPORT, the former above, and the latter
below the crown. The company's chief productions are table
services and good domestic ware.
COLOGNE STONEWARE,
OR Gres de Flandres.
Gres de Flandres, or Gres Flamand, is the general term by

which we recognise the jugs, pots, and tankards of hard stoneware
of many different forms and decorations, the composition of
which, to use a homely but apposite illustration, closely resembles
that of the common stoneware ginger-beer bottle of to-day. The
forms are quaint and good, the ground colour of the ware is
very similar in colour to the palerkind of ginger-beer bottle
already mentioned, and the decoration is as a rule effective
and very artistic and although in a general way the specimens
;
bear a strong family likeness to one another, very seldom are any
two pieces identical. An incised or moulded pattern is cut in
the paste when soft, afterwards this is picked out in colours, gener-
ally a deep lustrous blue and a purple, and then covered by a
z;
CO
c/:
miM
if
SIEGBURG STONEWARE.
With Coat of Arms, and inscriplion ;
VIVI
HEINRICUS IV NAV
REX FRAN'CO I590.
H
;
COLOGNE STONEWARE 159
good salt glaze. Many of these pots are mounted with hinged
covers of pewter, and their decorative on an old oak
effect,
cabinet or dresser, is very satisfactory.

They were first imported from Cologne in the sixteenth cen-
tury, and one of the Lansdowne MSS. mention is made that in

in
the year 1581 "the potts made at Culiein, called drinking potts,"
were first imported into England by Garrett Tynes of Aken
(Aix-la-Chapelle), who had previously supplied the Low Coun-
tries. In Chaffers there are also quotations from the petition
of a merchant named William Simpson, addressed to Queen Eliza-
beth, for the sole privilege of importing these " drinking stone
pottes " into England. It was about this time that the manufacture
of stoneware jugs called " Bellarmines," already mentioned in the

chapter on " Medicxval and Renaissance," was commenced in
England.
It course be remembered that in speaking of Flanders
will of
of the sixteenth and seventeenth centuries, a very large country
is alluded to it practically included Holland and a part of Ger-
;
many, or what was generally known as the Low Countries. The

stoneware which we are now considering was made at many
other places besides Cologne —
Raeren, a town in the old duchy
of Limburg, Siegburg, opposite Bonn on the Rhine, Verviers,
Namur, Coblentz and its neighbourhood, besides other towns.
So far as we know, the industry commenced at Cologne, and
became common in a great many parts of the Netherlands, where
the necessary clays and the requisite artistic skill were to be
found. Many of these old German stoneware pots, as we are
now more inclined to call them, are of a brownish shade, in
shape resembling an enlarged " Bellarmine " with the mask of a
bearded man on the neck, and a coat of arms on the body
others are of " Cannette " funnel shaped like the one illustrated,
with some heraldic device or coat of arms, and a motto or legend
in old German or Flemish.
A monograph on German stoneware from the pen
valuable
of Otto von Falke was recently published, giving particulars of
many of the makers of these interesting tankards, and this
information the author has condensed into some notes in the
thirteenth edition of Chaffers, where the initials with which many
specimens are marked are explained and attributed.
There is an excellent representative collection of this old
German stoneware or Gres de Flandres in the Victoria and Albert
Museum and also in the British Museum. These latter were
—
i6o COPENHAGEH
mostly collected by the famous antiquary Ralph Bernal, and the
following dates are given on the labels :
SiEGBURG from early fifteenth century to 1632.
Raeren, best period 15 60-1 6 19.

Cologne, 1550.
Frechen, from 1550.
Hohr-Grenzhausen (Nassau), best period 16 14 to end of
eighteenth century.
COPELAND (see Spode).
COPENHAGEN.
The attempts to found a porcelain factory at Copenhagen
first
are shrouded in mystery. W. C. H. Wylde says that they took

place as early as 1730 or soon after, and that in 1756, upon the
discovery of suitable kaolin in the island of Bornholm, a factory
was under the direction of Mehlhorn, a modeller from
started
Meissen, but we have no further definite information until we hear
that in 1759 or 1760 a Frenchman named Louis Fournier was
making a soft paste porcelain at Copenhagen and that his efforts
continued for some few years. Franks says that this undertaking
ceased in 1768. Wylde puts the cessation four years earlier.
In either case the factory was very short lived, and therefore
specimens are necessarily scarce, and, on account of their high
quality, very valuable. The paste is good, the painting generally
in landscapes, excellent, and the china has generally the appear-
ance of Dresden of the best period. Some specimens are in the
F^ranks collection at Bethnal Green, and Mr. H. E. B. Harrison
has the oval eciielle of a fine service enriched with a beautiful pink
colour. These are all marked with the initial F and figure 5,
the mark in the case of the service being in gold under the spouts
of Coffee and Milk pot. This is said to stand for Frederick V.,
who was King of Denmark at this time, and probably the service
was made for him.
The present Copenhagen factory (hard paste) was established
in 1772 by a chemist named Miiller some good painters were ;
engaged, and very creditable work was turned out, landscapes and
flower painting being the usual decoration of the table services
and vases. Groups and figures well modelled but somewhat
wanting in gracefulness were also made, and the mark was
adopted of three wavy lines in blue, denoting the three belts of
COPENHAGEN i6i
se;i and Fiinen from Jutland.

wiiich divide the islands of Zealand
An open Maltese cross is been used. It was
also believed to have
found on some specimens included in the sale at Marlborough
House, of china belonging to the Queen Dowager of Denmark.
This second venture was not a commercial success, and in
Cabaret of Copenhagen (hard paste) China, formerly in the Walker-Joy collection.
1775 the Government took over the factory since which date ;
ithas been carried on as a State concern. A speciality of the

factory has been the production in bisadl of the groups, statuettes,
and busts of famous persons after Thorvvaldsen, the Danish
National Sculptor also copies of Dresden flower painted services
;
and the blue and white table ware made in such great quantities
at Meissen.
l62 CREIL— CREPY-EN-VALOIS
During the last twenty-five or thirty years, under the direction
of Professor Arnold Krog, a " new art " school of design has ob-
tained favour and is now flourishing. The factory has a retail
depot in Bond Street where both kinds of productions, those in
the new art style, as well as reproductions of old models, may be
seen.
Bing and Grondahl.
In 1853 another porcelain factory was started by Grondahl,
who had been an employe at the Royal Works, and Bing a
stationer who provided the capital. Under the style and title of
Bing and Grondahl this undertaking is still carried on and has
been represented at recent International E.xhibitions.

Their productions are of the " new art " school the designs ;
are original and well executed. But they do not appeal to

amateurs other than those who affect modern productions.
+
+ B & G
Bing nnci Grondhal, 1S53.
yf
Mark in gold of the soft paste china by Fournier.
Faience was also made at Copenhagen in the last century,

but little is known about it.
CouRTiLLE (see Paris).
CREIL, Dept. Oise.

A manufactory of a fine faience, pos-
sessing some of the qualities of porcelain was
founded here at the end of the eighteenth
% centiu-y. It was generally white, and printed
r
4 with historical subjects. The mark was
^SARIS j<? stamped in the paste, and also stencilled.
•""MrVtV
CREPY-EN-VALOIS.
Nothing appears to have been known about this factory until
MM. de Chavagnac and de Grollier, the authors of the " Hisfoire
DANTZIG 163
des Manufactures Fran<;aise de Porcelain" nccideiitally discovered

in a curiosity shop in Paris three little specimens, two of which
were marked with the word Crcpy (incised) and the third with
the abbreviation C. P. Upon research they found in the Archives
of Paris records of a factory established in 1762 at Crepy-en-
Valois by a potter from Mene^y, together with sale books and
papers referring to the products of ihe factory, which must have
been considerable both in respect of domestic and of artistic soft
paste porcelain ; among them are mentioned snuff boxes, artificial
flowers, various small birds in colours, salt-cellais in white and
colours, and many other articles. is a memorandum of
There
a sale on the 15th of January 1765 to a M. Randour of a large
white group of three figures on a terrace, and a great many other
groups and figures. There are also other records of sales down
to the iith of December 1766 which are full of interest to col-
lectors of soft paste porcelain. It must be obvious that many
unmarked specimens, which have lieen attributed to Menec^y,

should be credited to Crepy. The factory appears to have ceased
to exist about 1770.
Crc^^ C.p.
c,|:
Incised. Incised.
Dagoty (see Paris).
Dalwitz see (Bohemia).
Damascus (see Rhodian).
DANTZIG.
This mark is referred to by Herr Jannike as

found upon faience that was made here.
Darmstadt (see Hesse-Darmstadt).
Darte (see Paris).

164 DAVENPORT— DELFT
DAVENPORT.
The manufactory established in 1773 at Longport, near
Burslem, passed into the hands of a Mr. Davenport in 1793, and
remained for many years in the possession of members of this
family, until 1876, when the works were closed. They manu-
factured porcelain of good quality, earthenware or stone china,
and also glass.
Porcelain was made by Davenports from about 1794 to 1887,
and it is on record that the firm were honoured by an order to
manufacture a coronation service at the time of William IV. 's
accession to the throne. The ware or stone china was similar to
Mason's ironstone ware, and octagonal-shaped jugs of this char-
acter must have been made in enormous quantities to judge from
the numbers still to be found.
The marks used were the words " Davenport " and " Longport,"
variously arranged, with or without an anchor. These marks are
generally stencilled in colour. A later mark on fine china was a
capital D, impressed.
en
^^^^:Po
<v!
Davenport
LONGPORT »sj/ >
o^ °*
i2
«^ STONE CHIMA '
DELFT.
The old Dutch town Delft, between The Hague and
of
Rotterdam, belonging to a nation which, at one time, was the
only European Power to whom the Japanese allowed an entrance
into their ports, availed itself of its large importation of Eastern
porcelain to attempt copies thereof. These resulted in a product
known as Delft, which, though an earthenware in substance, has
yet nuich of the feeling and character of Oriental porcelain, and,
in the fine colour (the Oriental blue) and the peculiar bluish-white
of the ground of some of the best specimens, is very closely

assimilated to its original models. Like the term majolica.
DELFT MARKS 165
"delft" is often carelessly applied to all sorts of glazed earthen-

ware.
Delft, when found genuine either of the blue and white or the
polychromatic variety, is much sought after especially by French
and German amateurs. Sets more or less complete of five jars
and beakers copied from Oriental designs, dishes and plates, and
curious figures of Dutchmen sitting astride a barrel, are occasion-
ally to be seen, and these realise high prices, but the extremely
clever imitations made in Paris deter amateurs from purchasing
unless they can be reasonably sure that the articles offered are
really genuine. The old marks are copied, and only experienced
collectors and dealers can detect the shams. As a rule these
latter are clumsier and heavier than the original old Delft ware,
and the colouring is not so artistic. There are a few good speci-
mens of polychromatic Delft in the Salting collection (see also
Chapter VI.).
Modern JVork. —
Faience, chiefly in blue and white, is still made
at Delft by Thoovt and Labouchere. The mark is the name of
the firm, impressed, and sometimes the device given below. The
vast majority of so-called " Old Delft " is, however, produced in
Paris.
Mark of factory at Delft, Thoovt and

Labouchere.
DELFT MARKS.
The number of Delft marks is very large, but the four pages
given here are representative. In Chaffers there is a list of Delft
potters, with their dates from 1614 to 1813; the majority of
the marks given are potters' signatures, initials, or devices. This
work, and also M. Havard's great book, Histoire de la Fayence de Delft,
should be referred to by collectors especially interested in Delft.
i66 DELFT MARKS
K n j \pw
Johannes van der
-^
M^3
Jacobos Pynacker, Wal, 1691.
l(»72.
Jan van dftr Buergeo,
(g
Getrii Kam, 1674.
^.^ Adnan Pynackei. IO90. C. Witsenburg, 1696.
3
« 6 1-0 VO- ^T_£—
.^V- Renic Hey, 1697.
A t
Pieter PouUsse. 1 690.
Ai)
Meei.
J.ins
1671
van dtr
^
Th. Witsenburgh. 1690.
de wilte Star.
Willem Kool. 1697
K
Joh. Knotter. 1698.
Jacobus Kool.
1676.
c . v.s-
Com. van Scbagen. 169,;
9:Y^ sc/t.c
Dirck van Schic, 1679.
C U
Corn, van der Kloot.
dc Roos.
Job. Groeii, 1683.

Jail vm der Laen. Jan V. d. Buergen, 1O95
1675.
L K Ho <3
'/ L \^
Lucas van KcsscI, 1675. dc Roos. Lucas van Dale, loiij
r;^^»<
Amcrcnaie ran KcsscI, //'OO
'<'75-
iJirck van dct Kest
dc blompot.
ill' liiinl.
DELFT MARKS 167
p. Verborg,
Verbt 1759.
C
1
P^
7^. 4-
)(>
"^^ Q- KJeynoven. 1680
J. Penniaf
rt Job. Gaal.
P- Vcrburg.
C^
Kcmelis van Dy ck,
Hi \ / TV
n & G. de Koning
J. T. Deitra.
^
A. Kruisweg, 1759.
D
P
P 5^ P
Joh. Pennis, 1759.
W-H
R.T.c
S M. //;2.r £^ rB
M. Boender. 1713.
w
ManiD Gouda, 1675
I VH ^ L. van Amsterdarr
r
J.
1728.
Verhagen, 1759.
^^
9
1
PC
Î. Veihacen, Wtb.
Ary Brouwer, 1 699.

GAAL
Job. tnji
'
1 68 DELFT MARKS
*'- *! Even' — Suier Vân dw Even.

i6q8.
V ^ ^ ^.y ij_S}
M-VB
i7f7
^4-
ir<ô ^r)(; i-DP

Z>A^ ijy^ J 60S'
^ ^' J/ .4ZB
^ H- D
//^
WD. MCI
/t- D e^-â2):S?. j^
2
Jll77=f4-
DELFT MARKS 169
IB
T
DE KlAAUW Dk Roos
Lambert Sandenis, 1764 D Van der Does, 17G4
W?
Dk Drik Klokkhn
A/R>R a;
W Van der Does, 1764.
Paris Claude R«v*rend.
/t- De Wittk Ster

îvirend?
A. Kiell, 1764
T'FORTUYN.
f.DA
De Vhrguldp Booi
Riv^rend ?
W Vander Briel.
1 den Appel, 1764.
S. P. Roerder?
T.DJ^L C.B
Df Paauw 1651
De I.ampkt Kan-
G. Brouwer.
ax
1764.
W V.3
dt twe Wildemanns
de dubbelde Schenkkann
T. Spaandonck, 1-764.
W. Van Beek. 1764.
Tvp Jnhanoes Mesch, i6go.

Keyser and Pynakei 1680
O _
/^
De MRTAAfE Pot. 1680
De Witle Ster.
Jans Kuylick, 1680
170 DE MORGAN & CO.— DERBY
DE MORGAN & Co.
A modern firm of potters was established at the Sands End

Works, Fulham, in 1888, by Mr. William de Morgan
and Mr. Halsey Ricardo, an architect. The productions
are principally lustre-ware in imitation of Hispano-
Moresque, and pottery in the Persian and Dutch styles,
and as such they are both artistic and successful.
Marks :The name and address of the firm, and the
device given in the margin.
Mr. de Morgan relinquished potting about 1898 and has since
become a successful novelist.
DERBY.
It is not known when
the manufactory of pottery first
commenced Derby, but it was before 1750, when Messrs.
at
John & Christopher Heath were the proprietors of the Derby
Pot Works. This firm became bankrupt in 1780, and the
stock was sold. The Derby Porcelain Wôrks were started in 751 i
by William Duesbury of Longton, Staffordshire. It is said that
he learned the secret of china-making from a Frenchman named

Andrew Planche, who had for some time resided in Saxony, and
who settled in Derby about 1745. Mr. Jewitt quotes from a
draft deed of partnership in his possession, made between William
Duesbury, an enamelier, John Heath, gentleman, and Andrew
Planche, "china maker," dated ist January 1756, and suggests
that as the partnership-deed draft was never duly executed, and
as Planche's name does not occur in any future papers, he was
by some means or other turned out of the concern after all the
information he could give, had been obtained. Heath appears to
have been the capitalist, and Duesbury to have found the ability
and energy necessary to make the business a profitable and
successful one.
The site of the manufactory was in Nottingham Road, since
built over by the Midland Railway Co., and under Duesbury's
management the "output" of the factory would appear to have
grown rapidly. In 1763 a consignment of goods sent to London
for sale, consisted of 41 cases of china, and realised the sum of
;^666, 17s. 6d. We give the contents of some of these cases,
and it is interesting to compare the prices with those given at the
present lime for pieces similar to those named.
m
i^^^^gi
CIIKLSEA-DERBY
PORCELAIN VASE,
Wiin lUsaiit Handles.
Jom:s l{r.i.iri;>T,
Victoria ami Ai.ukki' Muski'M.
3 u
< i<
o -c ::
J 2 "
^ - =.
DERBY 171
Box No. 41 coiitained-
8 large Flower Jars . at

3 large Inkstands . . .
I small do. . . .
4 large Britannias . . .
6 second sized Hussars .

172 DERBY
ance being rendered in the management by the eldest son of
the proprietor, who became partner a few months before his
father's death in 1786. The younger Duesbury seems to have
apphed himself very closely to the improvement of the manu-
facture, and to have received considerable support from Royalty
and the Court, models being lent by the Duke of Newcastle and
Lady Spencer, and sketches by Lord Lonsdale. Those table
services which are now so well known for their decoration of
landscapes in medallions, may be assigned to this date. Mr. Kean,
Cup, Cover, and Saucer of Crown Derby, blue and gold border
(British Museum).
sometime partner in the firm, managed the business for a short

time after Mr. Duesbury's death in 1796.
Kean married Duesbury's widow in 1798 and continued the
directorship of the factory until his stepson, grandson of the
original William Duesbury, took on the management.
In 18 1 5 the premises were leased to Robert Bloor, formerly
clerk to Mr. Duesbury, and tliough by the sale of many indiffer-
ently-finished specimens he became rapidly rich, the decline of
the Derby manufactory may be traced from his assumption of the
management. The London house at this time was 34 Old Bond
Street, where Mr. Courteney sold the productions consigned from
Derby.
Mr. Bloor died in 1849; the stock-in-trade was sold to
DERBY 173
Mr. Samuel Boyle of Fenton, and the buildings were pulled

down.
The business seems to a certain extent to have been continued
by Messrs. Locker & Co., but at different premises. They were
in turn succeeded by Messrs. Stevenson, Sharp & Co., in 1859.
Mrs. A. R. Macdonald has a cup and saucer with a landscape,
partly painted and partly printed, marked with Stevenson's name.
Old Crown Derby Dwarfs (in the collection of Mrs. A. K. Macdonald). The colouring
and details of the decoration of these quaint Derby figures varies considerably.
Colonel Pownall made a collection of some twenty-seven different varieties, which
were sold at Christie's in 1909 and realised over pf 500.
and a three-masted ship stamped in the paste. The firm after-

wards became Stevenson & Hancock, and on the death of Mr.
Stevenson in 1866, Mr. Sampson Hancock became the sole pro-
prietor, and his successor still continues to produce Crown Derby
china upon the old lines. His table services are fairly good
reproductions of some of the old patterns, and the work is care-
fully executed. As the letters S. H. in the adopted mark serve
as well for Sampson Hancock as for Stevenson & Hancock, it
has not been altered. It is of interest to note that the present
174 THE CROWN DERBY PORCELAIN CO.
Mr, Hancock's great-great-grandfather was the original Mr.

Duesbury's apprentice.
The paste of the old Crown Derby porcelain is fine, white,
and and many of the landscapes and flower-pieces are ad-
soft,
mirably painted. The finest of the latter are by the hand of
William Billingsley, the pupil of Zachariah Bowman, who was
one of the best landscape and flower artists of the Worcester
factory. The beautiful biscuit, of Derby, is worthy of special
notice, and some admirably modelled figures are in existence,
rivalling in many respects the biscuit of Sevres.
Indeed it is only fair to say of the very best specimens of old
Crown Derby, and of the finest Chelsea-Derby, that both as
regards paste and decoration one may compare them in every
way to good Sevres china. As, however, in distinct contrast to
Sevres, a good deal of Crown Derby china was made for sale,
and therefore quickly and imperfectly finished, it must be em-
phatically pointed out that the above comparison is only intended
to apply to the finest specimens of vases and services, which were
probably made as orders from the art patrons of the time, who
were prepared to pay for the best workmanship of which the
factory was capable.
A distinctive feature in the decoration of the tea and coffee
services is a beautiful transparent full blue, generally used as a
border, relieved by gilding the cups were often fluted.
;
Specimens with medallions of landscapes or figure subjects,

on plain grounds, are much appreciated.
self-coloured The
colours are mostly pale and dark blue, pink, green, and,
lilac,
rarest and most beautiful of all, canary yellow.

As regards the colour of the marks, they occur in red, blue,
and puce. A general impression prevails that the puce mark
indicates the best specimens. We do not know that there is any
ground for this, but certainly the puce mark is found on some of
the best. The Chelsea-Derby period from 1769 to 1784, when
Duesbury owned both factories, has been noticed under Chi-:lsea
{q.v.).
THE CROWN DERBY PORCELAIN CO.

A joint-stock company was formed in 1875, having a capital
of some £6'j,ooo, to carry on upon a large scale the old industry
of Derby. Mr. Edward Philips, formerly of the Worcester factory,
was managing director, Mr. W. R. Ingram, sculptor, was modeller,
and the shareholders were mostly local gentlemen. A factory was
—
THE CROWN DERHY PORCELAIN CO. '75
built upon the site of the old workhouse, and under the title of
The Crown Derby Porcelain Co., business upon a considerable
scale was commenced, the mark of D in reversed cyphers sur-
mounted by a crown being adopted.
In 1890 the Company obtained permission to use the prefix
" Royal," and the mark was thereupon slightly altered.
The productions of this Company are very decorative, but
littleattempt is made to copy the old models.
Since the first edition of this book was published, Mr. William
Burton's valuable History and Description of English Porcelain
has appeared and should be consulted. Professor Church's
English Porcelain, Mr. Bemrose's, Bow-Chelsea and Derby Porce-
lain, and the useful guide-book to the British Museum collection
by Mr. R. L. Hobson should be referred to. Mr. John Haslem's

book also contains many useful references he was employed at
;
the factory, and his book gives the original prices at which the
different groups and figures were sold at the works. Many of
these have a number scratched in the paste, and by this, and the
description given by Haslem, they can be easily identified. Many
Derby groups and figures bear no other mark save this number,
and in some cases the "first," "second," or "third" size are also
incised. The late Major-General Astley Terry had a biscuit group
of Mazeppa which is incised with the words "G. Cocker, Derby."
The following marks are arranged chronologically so far as
possible :
(Generally scratched in the paste.)
2^2^
The above marks, intended to represent a four-legged stool.

:
176 DERBY MARKS

are evidenth' the copies of a Chinese mark which is given by
Chaffers. It occurs very rarely, and on specimens of early date.
VVTDUESBURY.
<8p3-
B UESBURY
-ilRBY
3) Crown Derby. Derev. Karly mark.
E$«
Q) ~^.
3B
6X
c/i^v dl
vW fj/.
9
c*;?
S^fi BLOOR
DERBY
1 )ui;sbuiy i\: Kean.
Blook. T'eriuil Locker.

181510 1839.
Derbv
On transfer printed ware. Occurs upon
a specimen in the Worcester Porce- DKRIiY. Dkrhv. Stevenson
lain Works Museum. & Co. in 1859.
DESVRE— DOCCIA 177
Both marUs generally stcnciUerl in red.

178 DOCCIA— DOE AND ROGERS
highly finished porcelain which received the Grand Prix. The
author, who was a member of the jury of awards, was informed
by the manager that the gold mark, " Richard Ginori," was only
placed on the specimens actually decorated at their own works,
which are situated about six miles from Elorence.
The earlier productions of Doccia are well worth acquiring.
Collectors who are acquainted with the characteiistics of old
Venetian china will find many points of similarity between the
two styles. The decoration is generally on a white ground with
landscapes medallions, Italian peasants, views of towns and
in
buildings, or single figures. A favourite style of decoration is
to paint the centre landscape or subject in a reddish-pink colour,
while a broad band of deep blue relieves the border. Doccia
china is generally found in parts of table services, vases very
rarely, and figures or groups still more seldom.
In 1 82 1, when the works at Capo di Monte were discon-
tinued, a large quantity of moulds were acquired for the Doccia
factory. Since that time the output has consisted principally of
copies of Capo di Monte china, including the marks, many of
the pieces being wonderfully good imitations. Excellent copies
of si.xteenth-century majolica are also made here. The mark on
the earlier specimens is generally a star, adopted from the arms
of Ginori this mark is almost identical with one of the Nove
;
marks, and it is well-nigh impossible to distinguish between them.

A great deal of Doccia is unmarked.
l':stablislu-(l 17,15.
pr) * # ^
Fanciull.icc'i.
GINORI CA
will. Century.
^^
5?rr
N.S.
.will. Cinluiy.
DOE AND ROGERS
Doe and Rogers were painters for Chamberlains of Worcester ;
their names are occasionally found either together or separately

on specimens, of course referring only to the decoration (see
WORCESTKR).
DRICSDEN \'ASK (kaki.v I'Kkiod).
^'ellllw ground with panol of Chinese deconilion, ninrked A. U., ihe Monogram
ofAugustus Rkx, circa 1720.
Ill ilie collection of Mr. Chaki.es Hakhy.
DON POTTERY— DRESDEN 179
DON POTTERY (near Doncaster).
These works were established about 1790 by John Green, a

partner in the Leeds factory (q.v.).
His ware was very similar to that made DON POFFERY.
at Leeds. After various changes in the •
firm, the factory was bought in 1834 by GREEN.

Mr. Samuel Barker, by whose descen- DON POTTERY,
dants it is still carried on. The mark
used since 1834 is a demi-lion rampant A u-ip
holding a flag, inscribed DON, and under- â*^ J,
neath,POTTEI-iY and sometimes the
;
name BARKER, and an eagle displayed

on a ducal coronet. Estalilishcd 1790, hy J. Gicon ;
in 1S07 Clark joined.
DORNHEIM
Herr Jiinnike {" Grniulriss dcr Kciaiiiik") gives the following
mark as that of Kock & Fischer, faience manufacturers, ,
of Dornheim. Doubtless many pieces have been sold for iA»

Dresden, the mark of which it closely resembles. ti ici*
DouLTON Ware (see Lambeth).
DRESDEN, Saxony.
The credit of what may be justly termed the second inven-
tion of the manufacture of hard porcelain belongs to Sa.\(jny.
It is true thnt the I-*ortuguese merchants had, as early as the
si.\teenth century,introduced Chinese porcelain very generally into
Europe, but the mode of its production was quite unknown.
The process was discovered by John Bottger, an apothecary's
assistant at Berlin, who, being suspected of alchemy, had fled
to Saxony to elude persecution. His secret being deemed of
importance by the King-Elector, a manufactory was established at
Meissen in 1709, where, after a number of experiments had been
made, the desired porcelain was at last produced. In the British
Museum some specimens of Bottger ware are labelled 1706.
—
These earlier specimens now very rare, and called after their
producer —
were of a dark red colour, something like jasper,
and were only ornamented by the gilders or silversmiths of
that time and as a suitable glaze by the enamelling process
;
i8o DRESDEN
had not then been adopted, the pohshed surface was obtained
by means of the lathe. The Franks collection contains several
good specimens of Bottger ware, with both gold and silver
decorations. A fine white earth was discovered later from which
the first really fine porcelain was manufactured. Augustus the
DKKSUEN FIGURES. (Acier's modcllini,'.

(In the colleclion of Mr. 11. Manficlci, M.l'.)
Strong, Elector of Saxony, who has been termed the " King of
China Maniacs " took the greatest personal interest in this novel
!
art, and to his royal support we are indebted for many of the
finest old specimens that now adorn the gallery at Dresden, or
are to he found in some of our best private collections.
It is a historical fact that Augustus Rex presented William I.
DRESDEN i8i
of Prussia with some dragoons, completely equipped, in return

for twenty-two enormous vases, still to be seen in the royal col-
lection at Dresden. Bottger, the first director, died at the early
age of thirty-seven, and he was, in 1722, succeeded in office by
Horoldt or Herold, who introduced into the decoration the intricate
gilded borders and medallions in the Chinese style, by which that
period is known. To this time belong those charming services
decorated first with Chinese subjects, and afterwards with seaports
marked with the letters K.P.F., K.P.M. {" Koniglichcn Porzellan
Fabrik or Mamifaclur "). The produc-
tions of Horoldt's time are also dis-
tinguished by the size of the swords
(the mark of fabrujuc) which are
smaller, and connected by the hilts.
was previous to 1740 that
It
the beautiful ground colours, canary

yellow, apple green, lilac, marone or
claret colour were introduced, and
we find these accompanied by care-
fullypainted subjects in miniature,
with elaborate lace-work framings
of fine gilding. Vases, table services,
and various dainty cabinet specimens
of this period of the factory must
always command the admiration of
the collector. The ground-colours
are generally painted on the under
side of cups and saucers, as in the
case of the old Chinese ruby-backed
I'litpmirri \';ise. Old Dresden Porce-
plates ; doubtless the idea was copied lain (coll. Duke de Martina).
from the Oriental designs.
Occasionally one finds gilders' marks, either numerals or
initials in gold, on these early pieces, which bear no other mark,
and at others they accompany the K.P.M. or K.P.F.

In 1731, Joachim Kiindler, a sculptor of great merit, super-
intended the modelling, and introduced wreaths, bouquets of
flowers, chandeliers, vases and animals.
Kiindler also began a colossal statue of Augustus II., but
had only completed the head, when the works were stopped by
the war, during which, in 1745, Frederick the Great attacked
Dresden ; many pieces were seized and sold, and the electoral
archives plundered. In 1759, too, the manufactory was again
i82 DRESDEN
a severe sufferer from military pillage, Meissen being the battle-
field between tlie Austrians and the Prussians.
Dresden figures during the time of Kiindler, and also during
the King's period, were made formounting in ormolu, as was
the fashion of the time. Clocks and candelabra of ormolu with
scroll feet and china flowers, have a Dresden group, figure, bird,
or animal, as embellishment. As in such cases the base of the
figure would be hidden by the mount, the mark on pieces
intended for mounting, will be found at the back of the figures,
near the base. Figures of this kind are invariably of good
quality. Groups of Amorini representing quarters and seasons,
allegorical figures in sets, and some fine portrait groups of
contemporaneous celebrities, are among the best of his productions.
The famous groups and figures representing Countess Kosel,
Count Briihl, and Augustus II. are excellent examples.
Belonging to this class of figine work, are the famous crinoline
groups and harlequin figures, which within the last few years
have so much increased in value. There is a further reference to
this particular kind of group at the end of this notice.
The harlequins, quaint, luunorous, strong in modelling, and
forceful in colouring, belong to the same category. Some thirty
years ago the writer assisted the late General Randolph to form a
which then cost from _^'io to ^{"20 each.
collection of these figures,
At the sale of his collection in 1901 these figures realised three
or four times their cost to the General, and several of them are
now in the valuable collection of harlequins formed by Mr.
Francis Baer, and the illustration opposite is from one of
them.
Handler's work is marked liy bold and vigorous modelling,
and has been termed baroque as distinguished from the rococo,
which was contemporaneous with the last forty years of his career,
and which continued after his death in 1775. This rococo
style was affected by a French sculptor named Francois Acier,
and there is said to have been so much friction between the two
eminent artists that it was arranged that each of them should
select one-half of the designs for the new models.
The work of Acier is distinguished from that of Kandler as
being less bold and more delicate and dainty. His subjects
include Arcadian shepherds, musicians, mendicants, Cupids in
various costumes, with scroll bases of a lighter character than
those of Kandler, and reproducing the prevalent Iôuis Quinze
taste in decorative modelling. The series of tigures known as
DRESDEN 183
tlic "Cries of Paris" ;incl tliL' monkey orchcstr.i, are amon,^ tlie
recognised Acier models.

Acier retired on a pension in 1799, and towards tiie end of
his career the style of decoration had altered from the rococo
scrolls of Louis Quinze taste, to the more severe lines of the Louis
Seize period. This change is reflected in the altered models
Dresden H:iiiei]uin in Mr. Francis Haer's colleclion, reprinted from the Coti/ioisscw/r.
of the Meissen factory, and instead of scroll bases of groups and

figures, we have round or square pedestals ornamented with
beads or festoons. The shapes of the vases, too, are now of
classic form instead of rococo —
and the decorations, which in the
earlier time consisted of landscapes after Vernet, Boucher, and
Watteau, are now varied by wreaths, medallions framed in laurel
garlands, festoons, and classic emblems. This transition is
occasionally exemplified in the mounting of a Kiindler figure or
group, on a base of late Louis Seize design. The services of this
184 DRESDEN
time are still painted in subjects taken from the pictures of
Watteau, Boucher, Nicholas Berchem, and contemporary artists,
and the ground colours, instead of being plain as formerly, are
Dresden Tankard wiih embossed silver mount, decorated with medallion portrait
of Handel. Date e. 1759, in Mr. Herbert Young's collection.
variegated with a pattern in some cases resembling the salmon

scale familiar to us in the Worcester
decoration. Cups and
saucers are quatrcfoil shaped, and the coffee and tea-pots are
" lobed " to match. Birds were a popular form of decoration,
z
^-
DRESDEN 185
made fashionable, it is said, by tlie publication about this time

(1778) of Buffon's Natural llisUny. The ordinary table services,
painted with flowcis, were linished with an
fruits, aiul biids,
ornamental basket pattern border pressed in a mould.
Dates are rarely found on old Dresden cliina, but one
occasionally finds pieces or services which were made for certain
exalted persons, and these give us an approximate date. The
tankard (p. 184), which has a medallion portrait of Handel, is an
example of this class, and has been selected for illustration. The
great composer was a native of Saxony, and died 13th April,
1759, when doubtless this piece was made in commemoration.
The allegorical figures of Music, which support the medallions,
are in quaint Oriental costumes, which, but for the portrait giving
us a date, would have caused one to appropriate the piece to a
period some twenty years earlier. It is in tlie collection of
Mr. Herbert Young. These dated specimens are valuable in

determining the various kinds of decoration employed, show-
ing the changes of style, and in the Franks collection so fre-
quently referred to in these pages, there are no fewer than fourteen
dated examples. Dr. Brinckmann in his work on this factory has
quoted an interesting price list which was issued in 1765 giving
the names of the various patterns produced at Meissen.
Upon the restoration of peace, Deitrich, a native painter of
some eminence, was employed, but from this time the concern
was unable to pay its expenses, and became a heavy drain on
the King's private means. The period which followed was under
his Majesty's immediate directorship, and is known as the King's
period (1778); it is indicated by a dot between the hilts of the
swords, from which mark it has also acquired the cognomen of
" Saxe au point," and specimens produced at this time are
generally of good quality.
The Marcolini from the directorship of Count
period, so called
Marcolini, which commenced 1774 and lasted until 1814, is
in
indicated by a star between the sword hilts, and very frequently a
numeral, generally " 4," in blue. The decoration of this time is
very rich, the deep gros bleu, or bleu de rot, being much used as a
ground-colour, while groups of mythological figures and landscapes-
are very carefully painted.
In addition to the productions of the periods of the directorates
alluded to, the porcelain was sometimes sold by the factory
in the white, and decorated by private firms and individuals.
There is in existence a small number of specimens, chiefly parts
i86 DRESDEN
of a tea-service decorated by one Baron Busch, who is said to have
invented a method of engraving the porcelain with a diamond and
then rubbing in a black colouring matter which gives the effect of
fine etching. Tiie Duke of Brunswick possessed a service of this
Dresden Vase, lilue encrusted tlowers, wicli Watteau subject on gold

ground, mounted in richly chased gilt bronze (Jones Bequest,
work wiiicli was valued at ^'10,000. Single specimen cups and

saucers are to be found in private collections. Tfiere is one in
the Franks collection, and another in that of Mr. Ciiarles Borradaile.

Another painter in black on Dresden porcelain was Preussler,
of Bresiau, and a cup and saucer attributed to him is now in the
Britisii Museum it was formerly in Dr. Fortnum's collection.
;
DRESDEN 187
Coming to :i imicli Liter period, within the last fifty years a

great quantity of Meissen poicphiin was decorated in the town of
Dresden, by firms whose names are now almost forgotten, but
who, twenty or thirty years ago, did an extensive trade in
decorating Meissen china, generally imparting to it the effect
of an earlier period of decoration. Many such pieces now come
into the market, and puzzle those who are not intimately ac-
quainted with the peculiarities of the genuine old Meissen decora-
tion of the more desirable periods.
The present
directors still manufacture from the old models
and occasionally add new ones. The more highly finished speci-
mens take rank with other modern productions of the highest
standards, but the general output of the factory has fallen out of
favour on account of the excessive
colouring and high glaze, which do not
please the fastidious taste of the collector,
while those who buy china simply for
ornament are satisfied with the cheaper
imitations made in Paris, and at Pots-
chappel, Coburg, and other German
towns.
These imitations have marks very
similar to the Meissen fabriqne marks,
and no steps were taken by
until lately
the royal factory to check this injury to
its trade and reputation. During the
Milk-pot of Dresden Porcelain.
last few years, however, their trade
marks have been strictly protected, and there have been several
prosecutions under the " Merchandise Marks Act," which has
rendered the selling of china with forged marks a serious offence.
At the present time really fine old Meissen china is exceedingly
rare, and the prices realised are very high. The finest private
collection, second only to that in the Japan Palace of Dresden, is
the one formed by the late Hon. W. F. B. Massey Mainwaring,
and for many years exhibited at the Bethnal Green Museum.
This collection v/as purchased by Mr. King, a South African
millionaire, for the large sum of ^30,000.
As regards the prices of single specimens, the highest are
given for groups of figures in masquerade or fancy costume,
particularly for those which are termed "crinoline" groups.
These fascinating specimens generally consist of a lady dressed
in the farthingale or hooped skirt, which was fashionable in
DRESDEN
the seventeenth century, attended by a negro page, and not in-
frequently holding a toy pug-dog, and a fan, while one or more
lovers in gorgeous raiment, including brilliantly coloured knee-
breeches, pay court to her.
In the sale of Lord de Grey's collection in 1902, a group
of this kind realised ;îo5o,and since then groups of this descrip-
tion when perfectly genuine, have fully maintained this value.
For groupsof this kind to bring such exceptionally high
prices, all the colouring must be original, that is of the same
period as the china itself. Owing to the high value of the pro-
ductions of this early period of the old Meissen ware, not only
are modern imitations made to impose on inexperienced collectors,
but old groups of poor and insipid colouring, or " in the white,"
have been redecorated with the bright crimsons, yellows, blacks,
and other strong colours for which the finest groups are remark-
able. A special reference to the imitations of these valuable groups
will be found in the chapter on *' Hints and Cautions."
m Impicssed marks of Bollijei-
?7 S>ûav.>/i /^.^^j;
DiuisDiiN (Meissen).
.Augustus Kcx, 1709-1726. This ni.irk is
iheoiigiii.Tl monogram of .\uguslus Rex.
Dresden. Wand of .-Rsciilapius.

Established c. 1712. Porcelain for sale,
1715-1720.
X
Used 1716-1720.
Jjrescltn.l7-i^
DRESDEN 189
Impressed mark found on Dresden Bisittit

of the Marcolini time.
The iiiiiial lettersof Meissner Porzellan

Manufactur.
Very scarce mark,

^
jgo DRESDEN
Mark used since the " Marcolini ''

period,
and at the present time, and generally
accompanied by a number scratcheti cur-
Maicolini period, 1774-1S14.
sively on the paste. The number is for
reference in the factory l)ooks.
Special Marks on Spcrifiuiis in the celebrated Collection of China in the Japanese

Palace at Dresden.
Collectors will have observed upon some early specimens of Dresden and also on some
pieces of Oriental porcelain certain letters and numbers, not fahri;ue marks, but scratched
in the paste by a diamond point such as N
= 25 or N
= Z 96. These were special marks
which corresponded with the Inventory of the Royal Collection, and are said to have been
used to prevent the courtiers from abstracting specimens from the Palace. Sir A. W.
Franks in his comments on the copy of this inventory, which was dated 1779, mentions
that it consisted of five volumes, and was compiled from documents of an earlier date. As
the collection increased duplicate specimens were sold to make room for others, and these
sales will account for the specimens, bearing these otherwise mysterious marks, which from
time to time come into the market.
NoTIi.— Much misapprehension has arisen respecting the nick or cut in the paste across
the mark (swords). One such cut signifies that the white china was sold as white, and
therefore has been coloured in some outside atelier. In some cases, however, this after-
colouring is exceedingly clever, and gives the specimen the appearance of a genuine old piece.
Either one or more such " nicks," not across the swords but above or below them, signi-
fies some defect in the piece, but these defects are sometimes so slight as to cause little or
no difiference in the value of the article so marked.
The best known of the private fiinis in Dresden, as dis-

tinguished from the Royal or State factory, were Wolfsohn and
Meyers. The former adopted some fifty or
fjf^ sixty years ago as a fabrique mark the monogram
LXj of the Royal founder of the Meissen factory, as
/T\ ''1 t'l^ margin, and this is sometimes used to de-
^^ VvD eeive inexperienced collectors, and induce them
to purchase the comparatively modern imitation,
bearing the mark in the margin, for the veritable "Augustus
Rex " early pieces, which are very scarce and valuable.
This monogram of Augustus Rex should be carefully compared
with that on page i88, which is the one marked on the early
specimens of the real Meissen.
Some few years ago the Royal factory obtained
a decision in the German law courts prohibiting
the use of this mark, and the (irm then adopted
'jrtr' another mark, the letter D, or the word " Dresden,"
11 surmounted by a crown sometimes called Crown—
'^ Dresden.
DRESDEN— DUBLIN 191
Another mark which we sometimes find upon Dresden china

of some thirty or forty years ago, is that in the margin, used
by Meyers, the second manufacturer alhided to,
the initial letter M being that of his name, and
the bar across the swords indicating a difference
from the Royal Meissen Factory. Another mark,
very similar to this, is that with the letter S
I
between the hilts. This is nn early mark of M Samson of
Paris, the famous maker of imitations. There were otiier
makers and decorators of " Dresden," one being
a man named Thieme, who adopted his initial
letter as a mark, but many of his productions
bore also, or instead of, an imitation more or less
exact of the crossed swords. (See also Chapter VI.)
The mark in the margin is given by Chaffers
SPM
as that on some modern Dresden sceaux in the late Lord
Cadogan's collection. The crossed swords mark of Meissen is
also found on the work of other factories, notably of Worcester
and of Derby. Some of the Tluiringian factories, Limburg and
Closter Veilsdorf, also used the mark for a short time, and we
know that it was discontinued after a strong protest from the
Saxony authorities. While the Worcester and Derby specimens
with this mark are easily identified, these German pieces have much
more in common with old Meissen, and are likely to be mistaken.
DUBLIN.
Captain Henry Delamain appears to have
established a factory of earthenware here,
some time prior to 1753. It is not known
what mark he used. A considerable quantity

of table ware, much resembling Leeds ware,
is marked with a harp and crown, and the
Uncertain. About 1760
name Dublin. Donovan, whose name some-
times occurs, was not a manufacturer, but DONOVAN.
he decorated all sorts of pottery, and used his
Donovan,
own name, as well as imitating various marks.
Dublin.
1790. Donovan, a
decorator only.
—
192 EISENACH— ESTE

EISENACH.
Herr Jannike gives the following as the mark
of A. Saeltzei", amaker of faience at Eisenacli.
ELBOGEN, Bohemia.
A factory was estabHshed here in 18 15 by
M. Haidinger, but little is known of it and speci-
mens are very rare. Hard paste. Mark, an
arm holding a sword, impressed in the paste.
(See Bohemia)
Elers Wake (see Bradwell).
J LYU^ rVli ENGLEFONTAINE.

Herr Jiinnike gives the following
'All/J£y mark for pottery made here.
EPERNAY.
Enamelled faience was made here in the seventeenth and
eighteenth centuries. Some pieces are marked with the word
" Epernay " in raised letters.
Essex Pottery (see also Hedixuham).
ESTE, NEAR Padua.

Faience and porcelain were both made here from the middle
down to a recent date. Several firms appear
of the last century
to have had works in the locality. The following marks are
known :
ESTE
G.
WTII. Century.
ESTE+ 1783 + ••-•^»>
D. B. are the initials of Domenico Brnnello ; G. V. of Girolamo

Kranchini. The name of Fabris also occurs.
Lady C. Schreiber's Journals mention the purchase of a
ETIOLLES— FAENZA 193
pair of fine figures of tliis factory of llie Virgin and St. Jolm, both
marked ESTE, and one of them with date 1783, the mark being
stamped in the paste. They are now in Lady Bessboroiigh's
collection.
ETIOLLES, Dept. Seine et Oise.
A small factory, established by Jean-Baptiste Monier in

1766, near Corbeil, where both soft and hard paste porcelain
were made. The mark is composed of letters, MP., joined
together, and sometimes the word Etiolles in full. The speci-
mens of this factory are very similar to those of many other
French fabriques of hard-paste porcelain. It is sought after chiefly
for its rarity.
The monogram MP. stands for Monier et Pelleve, the former
being the founder, and the hitter associated with him.
£^'
A i\\is fabriqiie, dated 1770 and marked "Etiolles,

service of
Pelleve," was purchased by Mr. Samuel Litchfield (the author's
father) some thirty-five years ago. After many changes of owner-
ship, the various pieces were sold separately, and they now
occasionally come into the market. The mark is scratched in
the paste very lightly, and being without colour, is easily over-
looked. A specimen of this service is in the Franks collection.
Fabriano (see Majolica).
PÂENZA.
The majolicaof Faenza produced at the end of the fifteenth
century perhaps the most highly prized of all the beautiful
is
ceramic productions of the best period of art in Italy, and its

characteristics and peculiarities deserve most careful attention
and examination by the collector. Generally speaking, the pig-
ments selected are blue and yellow, the ornament sometimes
being in blue on yellow ground, and sometimes the reverse. Per-
haps the most famous specimen is the beautiful plate with
grotesque figures, masks, Cupids, trophies of arms, and a satyr
playing on a pipe, with the motto Aiixilliinii mc:nn de Domino, and
N
194 FAENZA
date 1508, for which M. Adolphe de Rothschild paid ;f920 at the
Fountaine sale in 1884.
Mr. George Salting collected some famous specimens, which
are included in his bequest to the nation, amongst others being
the Baluster-shaped vase with decoration in blue and deep orange
colours, for which he paid ^îioo.
Some of the best pieces of Faenza majolica are those which
are attributed to the handiwork of one Pirote or Pirota, and his
mark, which is sometimes the inscription " Fato in Faenza in
Casa Pirota," and sometimes a curious device, is very highly
appreciated by collectors.
The marks in all their different forms are given fully in
Chaffers, but are not reproduced here, partly from lack of
space, and partly because it is almost impossible to find a genuine
specimen for sale except when a celebrated collection is dispersed.
Under the notice on Majolica (i/.i'.), there will be found a few re-
presentative marks and inscriptions of Faenza as of other Italian
majolicas of the time.
The magnificent collection in the Victoria and Albert Museum,
formed by Mr. George Salting, should be very carefully studied
by the amateur who wishes to add genuine pieces of Faenza to
his cabinet. The large edition of Chaffers, and Dr. Drury Fort-
num's Majolica, should be consulted.
A revival of the art of making artistic majolica took place
here in 1850, when Professor Farini, having purchased part of
the collection of the Museum Passelini, which was dispersed at
this time, established a factory, where, owing to his skill and energy,
the productions attained considerable excellence. At his death
in 1863 he was succeeded by his son Ludovicus, and in 1871 a
partial change in the proprietorship took place. The old models
and decoration are successfully reproduced, and are of high merit.
The marks were an anchor and the word FAENZA, A. FARINI &
Co., altered in 1878 to the device of two triangles intersecting
each other and the letter F.
FAENZA
A FARINI &G
FENTON 195
FENTON, Stakkok'dsiiire.
This is made from very
a large district wher«e pottery lias buen
early times, and in century there were several
the eighteenth
factories. The most notable of these were those of Thomas
Whieldon (at one time in partneiship with Wedgwood), John
Barker, Robert Garren, and Thomas Green. The last nametl also
made porcelain. A modern factory of encaustic tiles, majolica,
&c., was started here by Mr. Robert Minton Taylor, under the style
of the Fenton Stone Works. (See also WiiiiiLUON and Mason.)
Marks the names of the various makers.
:
Thomas Heath, whose daughter was married to Felix Pratt, had

a pottery at early, it is said, as 1710, and Shaw mentions
Fenton as
one of his plates as"the earlier kind of white ware with blue
painting." Palmer of Hanley, and Neale, who both copied
Wedgwood ware, married daughters of Thomas Heath.
The Pottery of Feli.x Pratt, which from 1775 to about 1810
produced excellent ware, marked with the name PRATT and
known as " Pratt's ware," was in this district, his works being built
on the site of Thomas Heath's pottery. So many pieces are un-
marked that they are generally vaguely described as " Stafford-
shire pottery," but they have some peculiarities which enable us
to distinguish them. His jugs have an ornament in rehef round
the bases and also on the upper parts busts of Admirals Nelson,
;
Jarvis, Duncan, and other contemporary celebrities are found

modelled on these jugs, and a tea-pot in the Victoria and Albert
Museum has an equestrian portrait of the Duke of York. The
ware is cream coloured with a bluish glaze. Pratt's descendants
still carry on the business.
Some other potters who carried on work in the district, and

of whom Chaffers gives more particulars, were Phillips, Matthews,
John Adams, and a firm named Elkin, Knight, & Bridgvvood ;
Joseph Myatt, who made ware in the style of Wedgwood, had

works at Foley near this place. He was one of the devotees of
Wesleyanism, and it is said that John Wesley preached to a con-
gregation from his parlour window. Of Miles Mason and his
successors we have given more particulars in the notice under
Mason.
Specimens of eighteenth-century English pottery are occasion-
ally found bearing the names of various potters given above. At
the present time the Crown Staffordshire Porcelain Company carry
on a large business in domestic and artistic china at the Minerva
Works, Fenton.
196 FERRYBRIDGE— FLORENCE
FERRYBRIDGE, near Knottingley, Yorkshire.

Some works were established about 1792 by Tonilinson & Co.
Shortly afterwards, on taking into partnership Ralph Wedgwood
(son of Thomas, Josiah's partner), they made very inferior
imitations of Josiali's jasper and other wares, using the mark
" Wedgwood & Co." The works have since changed hands
several times. The name " Ferrybridge " was sometimes used
as a mark.
Feuillet (see Paris).
FLORENCE.
to the honour of the first production
There are two claimants
of soft-paste Europe, their claims being founded
porcelain in
upon the authority of two letters written from Venice, one letter
mentioning that as early as 1470 porcelain had been made by a
potter named Maestro Antonio, the writer sending with the letter,
a bowl said to be a specimen of the new achievement. The
second letter is of a later date, 17th May 15 19, and the writer,
an ambassador, in sending to his master, Alfonso d'Este 1., a
present of an ecuelle, attributes the invention to a potter named
Leonardo Peringer.
No specimens of fhis alleged early Venetian porcelain are
known to any collector, and therefore we have no trustworthy
evidence as to the manufacture of real porcelain, before the date of
1574. Dr. Foresi of Florence in 1857 accidentally found a speci-
men of Florentine soft-paste porcelain, and after considerable
research discovered documents which enabled him to associate
the porcelain bottle of his " find " with the records of \he fabriqiie
which produced it. Mr. C. H. Wylde, in his Continental China,
has given us a translation from one of these olhcial documents
which is of great interest. " Towards the end of the sixteenth
century the princes of the House of Medici made experiments in
P'lorence in porcelain, in imitation of that of China. There are
stillsome persons who possess examples ; they bear on the
reverse the mark of the dome of the Cathedral, with the letter F.
to designate the Grand Duke Francis I. as the author of the enter-
prise. It is also believed that it was continued under Cosimo 11.,
nephew of Francis 1., a theory based on a diary of the Court
FLORENCE 197
[Diario di cortc), in which one reads the record of a solemn fete

given at the Pitti Pahice in 161 3. It is stated in this record that
ticketswere made of square form of a material called royal porce-
lain on which were delineated the arms with
{porcelana regia),
the pellets, and a scimitar on the reverse these tickets were;
intended to be given to foreign nobles and other gentlemen."
Dr. Foresi was fortun.ite enough to secure ten specimens, three

of which he sold to the South Kensington Museum, where they are
still to be seen. The famous bottle which was the learned doctor's
first trouvaille is now in the Louvre.
In 1896, a charming little ewer, only six inches high, of this

very rare fabriqiic, and with the most simple decoration in blue
on a white ground, realised the very high price of ;^304, los.
This is now in the collection of Mr. George Salting, bequeathed to
the Victoria and Albert Museum.
The paste or body of this rare and delicate porcelain is soft
and creamy, and the decoration, which is generally in shaded blues,
is particularly appropriate, the designs being Italian renderings of
Eastern motifs. Specimens are exceedingly rare, according to
Drury Fortnum, only forty being known to exist.
The mark of a dome, representing the Cathedral of Florence,
has sometimes the letterF beneath it this may stand for Florence,
:
or, as suggested in the translation given above, for the name of

the Grand Duke Francis. A very interesting specimen bowl, now
in the Victoria and Albert Museum, which was purchased at the
sale of the Willett collection a few years ago for sixty-eight guineas,
is marked with a date 1638 and the letters G.G.P.F., but whether
this is actually from the Florence soft-paste china factory is not
certain, since it has been generally considered that the enterprise
ended after the death of Francisco I. in 1587.
The other marks given are on the authority of Dr. Foresi.
The Victoria and Albert Museum has recently been enriched by
the addition of seven specimens from this fabrique included in
Mr. Fitzhenry's collection of soft-paste china.
198 FLORSHEIM— FONTAINEBLEAU
fMI (Ml
XVI. Century. A lion's paw holding a tablet.
WI. Cenlvuy. Arms of Ihc Medici. Soy,

A modern
^ factory of fdience, of a piuL-ly
known as CANTA GALLI,
decorative character,
has been carried on for some twenty or thirty
years at Florence, and has for its mark a
crowing cock very sketchily drawn.
A This factory is of considerable importance,

and produces excellent reproductions of old
Urbino majolica, lustred Gubbio ware, and Delia Rolibia. In the
Pitti Palace, Florence, there are some good medallions of this
latter description over the doorways on the staircase. A great
part of the ware madepurely of a decorative character, but the
is
more ambitious specimens have great merit.
(^ At• FLORSHEIM, on the Main.

The mark in the margin is attributed to Christoph
1^ Mackenhauer, a maker of faience at Florsheim at
the latter part of the eighteenth and the beginning
T* y A JH '>i the nineteenth century.
FONTAINEBLEAU.
A manufactory was established at Belleville in 1790 by Jacob
Petit, and the earlier pieces were carefully painted ;
but as of late the proprietor has copied the Dresden
JP models and style of decoration, and in order to com-

pete in price has considerably lowered his standard
—
FONTAINEBLEAU— FRANKENTHAI. 199
of excellence, the productions of this manufactory are not much

sought after, save by dealers who may buy them to sell as
Dresden ; some of the white figures are, however, very graceful.
The mark is in blue, and, until a recent registration of trade
marks hindered it, the cross swords of Saxony were also added.
The present manufactory is in the Rue Paradis Poissonniere, Paris.
At Avon, near Fontainebleau, there was a considerable manu-
facture of faience as early as 1608. The productions seem to
have been mostly small figures, and other pieces in imitation of
Palissy ware. A great deal of the commoner imitations of Dresden
china have been made at several factories near Fontainebleau ;
and until the recent stringent prosecutions under the Trades

Marks Acts proved that the offering for sale of pieces of china
bearing forged marks, was a criminal offence, this kind of china,
bearing a colourable imitation of the Dresden mark, was largely
imported into England.
M. Jacquemart gives these marks :
^<^ m.c XVII. Century.
This a modern mark of MM. Godebski & Cie
X
is :
Avon les I'"ontaineliIeau.
FoRLi (see Majolica).
FRANKENTHAL (Palatinate, now Bavaria).

Carl Theodore.
A manufactory hard-paste porcelain was established at
of
Frankenthal 1754
in by Paul Hannong, formerly a potter of Stras-
bourg. The invention of porcelain-making appears to have been
his own, and he tried to sell it to the factory at Sevres. The
negotiations came to nothing, and the decree forbidding the manu-
facture of porcelain in France, except at Sevres, compelled Hannong
to carry his invention elsewhere. Ringler, who had left Hochst
(q-v.) in disgust at the discovery of his papers and piracy of
his secret, appears to have become director of the new works, and
200 FRANKENTHAL
good porcelain was made until his death in 1761, when the Elector-
Palatine, Carl Theodore, rescued the factory from collapse and
purchased the plant, and his Christian names became the title of
the factory. He was a zealous patron of the fine arts, and raised
the tone of Frankenthal ceramics, until the decline of the factory
was brought about owing to his becoming Elector of Bavaria
(1798) and withdrawing his personal interest.
Paul Hannong died soon after the factory was started, and
was succeeded by his son, Joseph Adam Hannong, whose mono-
gram will be found below, as one of the marks on the best period
of Frankenthal porcelain. A potter named Feylner became
director in 1775, and is credited with improvements in the paste
or body, and also with the production of a beautiful underglaze
blue ground-colour.
During the best period, 1765-1778, when first-class artists
were employed, some very fine specimens were produced these ;
are rare, and are now eagerly sought after by collectors.

The productions of the Frankenthal factory certainly rank
among the best examples of German porcelain. The charming
lightness and elegance of their figure work is much appreciated,
and during the last few years the price realised by auction for
them has increased fourfold. The paste is not nearly so white
or hard looking as the Meissen, and the colouring is simpler,
but they excel in the " spirit " and character of the figures.
The tea and coffee services and vases are as a rule finely
painted in flowers, landscapes, and subjects on white ground, but
in afew instances coloured grounds have been employed with great
success. The author once possessed a pair of ice-pails or
sceaux, with Cupids, and the crimson-lake ground-colour which
we find on the best Chelsea. Rich dark blue as a ground-colour
was used, and sometimes the gilding of special specimens was in
two shades of gold.
A characteristic of this factory is the painting en grisaille, also
in areddish-brown, of the subjects, and of these the drawing
and shading are excellent. In the loan collection at the Victoria
and Albert Museiun are some very characteristic specimens of
the different styles of decoration executed at this factory.
Frankenthal and Ludwigsburg are often confounded, being very
similar in every respect. Frankenthal and Carl Theodore are
synonymous terms.
The earlier mark was a lion rampant, the crest of the Palati-
nate. The monograms of Paul Hannong, and afterwards that of
to
Ui
-4
FRANKENTHAL— FROG MUGS 201
his son, Joseph Adam, are often found accompanying tiiis mark.
When it became a Gcjvernment establishment, the mark used was
the Elector's monogram surmounted by his ciown.
The factory was never a commercial success, and during the
war with France, when Frankenthal was besieged in 1795, tlie
climax of misfortunes arrived, and the concern was sold by
auction, but was not finally closed until 1800.
In Chapter VI. the reader will find some useful information
respecting the imitations of old Frankenthal which are now
being made at Nymphenburg.
Crest used from 1755 to 1761.

(h
J. A. Haiinung.
Mark of Carl Theodore, 1761.
A ma rk v"^ lias been attributed to Ringler, and occurs on

a specimen Fin the Franks collection.
This impressed mark, the monogram of Paul ,». . —,

Hannong, next the rampant lion on a figure in the
is
It is doubtful
\W O
collection of Mrs. A. R. Macdonald.
whether it is Strasbourg or Frankenthal.
FROG MUGS.
A frog mug
a drinking mug, with a small model of a
is
frog fixed bottom inside. They were made at Leeds,

to the
Sunderland, Nottingham, and other English potteries.
202 FULDA— FULHAM
FULDA, Hesse.
A porcelain manufactory was established in the city of Fulda
by Rin«ler's workmen in 1763, under the immediate protec-
tion of Arnandus, Prince-Bishop of Fulda, and carried on in a
building adjoining the episcopal palace, the clay being found
in the district of Hohe Khin, and the fuel supplied from the
beechwood forests in the vicinity. The expenses, which were
very heavy, were borne by the Bishop, and some excellent
specimens in vases, figures, groups, and services were pro-
duced. The factory was discontinued in 1780 on account of
its great expense, and the mod-els, &c., sold by public auction.
Hard paste. Mark, two F's interlaced under a crown, signifying

Fiirstlich Fuldaisch(belonging to the Prince of Fulda), also a cross
(the arms Both marks are in blue under the glaze.
of Fulda).
In paste and decoration the porcelain of Fulda resembles that
of Hochst in many respects. Landscape, bird, and figure sub-
jects are carefully painted.
FULHAM.
+
The honour of the first discovery of porcelain-making in
England claimed for Fulham.
is John Dwight, a man of con-
siderable learning, obtained a patent in 1671 from Charles II.
for the manufacture of "transparent porcellane." His ware,
however, was not a true porcelain, but only a semi-trunslucent
earthenware. He also made some excellent imitations of the
German grey stoneware which, up to his time, had been largely
imported from Cologne. Fulham stoneware was not confined to
articles of domestic use, but statuettes, busts, and fancy figures
were also produced. In the \'ictoria and Albert Museum is a
beautiful half-length figure of a dead child, inscribed, ^' Lydia
dyd March 3, 1673," which was purchased at the sale of a
Diviglit,
collection of Dwight's stoneware in 1873 for the sum of ;Î30.
The bust of Prince Rupert, of which an illustration is given,
that of Mrs. Pepys, wife of the great diarist, and tiie statuette of
Meleager in the British Museum, are also excellent specimens of
Dwight's Fulham stoneware, and there are several other examples
in the same Museum. As regards the stoneware jugs and pots, it
FULDx\ PORCELAIN.
Pair of figures of peasants.
Fuimeily in ilie collection of Mr. Charles Dickins.

Ftom Chaffers' " Keramic Gallery."
FULHAM 203
is in some cases difficult to decide between tlie claims of Fiilliain

and some of the German One
has to be guided by the
factories.
character of the decoration, the nationality of the coat of arms
or device, and the language of the motto or legend, if there be
liusl of I'rince Kujiert in Fulham stoneware (Biiusli Museum).
one, since the composition and appearance are so similar. The

actual body of the ware is not unlike that of the modern ginger-
beer stone bottle. Some of this old Fulham ware was a rich
brown colour with salt glaze, and the decorations of tankards
and jugs, often in relief, represented hunting scenes, busts of
204 FULHAM
celebritiesand many humorous incidents. Hogarth's " Midnight
Conversation " was a popular subject, and one has seen figures
of beefeaters and queer-looking hounds, together with a bust
of Queen Anne, the latter being, however, on jugs or tankards
of much later date than the time of that monarch. Mr. Robert
Drane has two of these tankards with the lower part discoloured
from being placed on the fire to heat the " spiced ale "which was
a favourite beverage,
and he has also the
original wooden stand
which was used to pre-
vent injury to the table.
Some of the early Fulham
ware was mottled, and the
mottlings of this now
much sought after variety
are varied, one particular
kind being described as
" tiger's skin." When
these are mounted in
silver of the period they
are very valuable.
The most sensational
price ever paid for a
specimen of Fulhamware
was realised when the
famous West Mailing Jug
was sold at Christie's in
1903 for the enormous
The West Mali.ing Elizabethan Juc, J581.
From a photographby permission of Messrs.
;
sum of 1450 guineas.
Crichton Brothers. The body this jug
of
was mottled shades of
in
purple, orange, and green, and tlie silver-gilt mount bore the
London hall-mark of 1581.
From the illustration it will be seen that the mount was a
fine piece of old work, and, of course, the greater part of the
sale price must be credited to this, but it gives us the approxi-
mate date of the jug, which was for more than two hundred
years the property of the parish of West Mailing, and was sold
by order of the cluirchwardens to provide funds for church
restoration.
Another illustration of one of these Fulham ware jugs with a
FULHAM— FGNFKIRCHEN 205
silver mount given, on account of an incident which connects

is
it with book and its author. A reader of Pottery and

this
Porcelain wiio had but Httle previous icnowledge of the subject
saw in a village shop the jug which is here illustrated, and
tliinidng from its appearance that it resembled one whicli she had
read about and seen illustrated on page
23, she purchased it for 4s. 6d. and
then brought it to the author for his
opinion and valuation. The specimen
was a fine piece of the old Fulham
mottled ware, and the silver mounts
bore on the foot, the rim, and also the
hinged cover the hall-mark of 1560.
As a result of the interview the jug
was sent to Christie's, and in May 1910
realised £2^,0.
After D wight's death the pottery
was carried on by his daughter-in-law
in partnership with a man named
VVarland they were, however, unsuc-
;
cessful, and became bankrupt in 1746.

Margaret's daughter Lydia married first
Thomas Warland, afterwards William
White, and he and his descendants Fulham W.iru Mouleii Jug, pur-
carried on the works until 1862, when chased for 45. 6ci., sold for ^250.
Messrs. Macintosh & Clements became
the proprietors. In 1864 this firm was succeeded by Mr. C. T. C.
Bailey, who greatly improved and enlarged the manufactory.
It is now carried on by a limited company.
There are several excellent specimens of old Fulham ware in

the British Museum, and Mr. L. Solon has a famous private
collection.
In 1888 Mr. William de Morgan opened a factory here (see
De Morgan).
FUNFKIRCHEN, Hungary.
A modern factory of faience has been es-
tablished here by W, Zsolnay ; the ware is well
decorated with floral scrolls. Mark as in the
margin. The exhibit of this pottery at the last
International Exhibition in Turin (191 1) showed
some improvement on previous work. l^^LAMy
2o6 fURSTENBURG
FURSTENBURG, Brunswick.
The establishment manufactory at Fi'irstenburg

of a porcelain
was due to William Ferdinand, Duke of Brunswick,
Charles
who in 1737 married Augusta, daughter of Frederick, Prince
of Wales, and granddaughter of George II. Being desirous of
becoming the proprietor of some ceramic works, he induced a
Hochst workman, one Bengraf, to leave his employment and take
the superintendence of a furnace. His master Gelz, however,
learning his intention, obtained an electoral commission to force
Bengraf to impart his secret knowledge of the various processes
to him before leaving, and on Bengraf's refusal to do this he was
placed under arrest and kept without food until the terms were
complied with, when he was released, and went to Fiirstenburg
in 1750 to found a manufactory. He died very shortly after
its commencement, and the enterprise was taken up with
much skill and spirit by Baron Von Lang, whose knowledge
of chemistry enabled him to carry on the works with success.
The paste is hard, and the character of the ware is somewhat like
that of Meissen, but coarser.
A great many and about 1770
table services were produced,
considerable improvements were effected, and some good artists
employed. A specialite of the factory was the production in
excellent biscuit, of busts, and cameo portrait medallions, and also
of pictures with frames of rococo design, all in porcelain. The
biscuit are by Rombrich, Schubert, Lutlau, and
portraits
Desoches. The death of the Duke of Brunswick in 1780 caused
a reduction in the establishment, but the works were continued
under his successors, and a Frenchman named Gersverot was
manager. In 1807, when the duchy of Brunswick was amalga-
mated with the new kingdom of Westphalia, under Jerome
Bonaparte, the fortunes of the Fiirstenburg factory were revived
for a time. After Jerome's departure in 18 13 the factory passed
through various vicissitudes, and eventually in 1888 was formed
into a limited Some of the old models are still
company.
used, and are palmed sometimes on the unwary collector
off
as old Fiirstenburg, but they are badly fuiished and indif-
ferently painted. The mark is the cypher F, in blue under the
glaze.
GENOA 207
% The first of these marks is somewhat

^sûncertain, thont^li
usually attributed to this factory. The mark in
the margin has been attributed to Hesse-Cassel,
but as it has been found on pieces marked with
the letter F, as above, it is now considered
probable that it really belongs to Fiirstenburg. Several repre-
sentative examples of tliis factory are in the Franks collection.
They illustrate the whiteness of the paste and some peculiarities
of decoration.
Geneva (see Nyon).
GENOA.
Majolica was made here as early as 154S it was not
; un-
like that made at Savona. All the following marks are attributed
to Genoa, but most of them are somewhat uncertain.
XVIII. Century. XVII. Century.
XVIII. Century.
A
C-C
6
B-L
XVIII. Century.
XVIII. Century.
—
2o8 GERA— GlEN
GERA.
This is one of the group of some twelve porcelain factories
in the forest district of Thuringia, about which we had little
reliable information until the publication recently of a work,
Altthitringer Porzcllan, issued under
the authority of the
Leipzig Museum. It is there stated that the factory at Gera was
started in 1780 by a faience maker named Johann Gottlob
Ehwaldt, together with a collaborator named Gottbrecht.
For a short time the factory was amalgamated with that of
Volkstedt, but later the Gera concern appears to have been
owned by two members of the Greiner family. The factory
is still a going concern. A characteristic of Gera porcelain
is the imitation of grained woods, and as a relief, a landscape
painted in an oblong panel, like a little picture, appears to have

been thrown on the surface. The paste is hard, and very similar
to those of the kindred factories, Volkstedt, Kloster Veilsdorf,
Gotha and others. (See Thuringia.)
The productions were chiefly table services.
Mark: an upright script G, in blue under the glaze,
^^ which it will be observed has a peculiar hook in the
Kl upper part distinguishing it from the G of Gotha.
^f Sometimes the name Gera is used in full. Speci-
C/ mens are in the Franks collection (Bethnal Green
Museum).
GIEN, France.
A factory of majolica was started here about 1864. Some
of the imitations of early pieces of Raffaelesque ware are worth
attention.
The following marks are stencilled in colour on the ware :
GIKN
C! e o ff o
1 i
GiNORi (see Capo di Monte).

GOGGINGEN—GOTHA >0()
GOGGINGEN, Bavaria.
A of faience was established here

factory Qo^C/tfiêrv
about 1750. Chaffers mentions a specimen, HS"
painted with arabesques in blue, having this mark, xviii. Century.
and he also states that its general characteristics are those of
Moustiers faience.
Gombroon Ware (see Persia).
GOTHA, Saxe-Coburg.
This is the oldest of the Thuringian group, having been started
some years before either of the others, by a court official named
Rotberg one of the marks used by the factory was R-g, the
;
first and last letters of his name. There is an interesting cor-

respondence, published in a German monograph on the Thuringian
factories already referred to, in which Rotberg endeavoured to
induce a potter named Paul to break his engagement at Fiirsten-
burg and join him. This was in 1758.
In 1 81 3 a man named Henneberg, formerly valet to Prince
August of Gotha, became the proprietor of the factory, and was
followed by his sons and grandsons, until 1881, when a firm
named Simson Brothers became the owners.
The paste is hard, and similar in many respects to that of other
German and somewhat better than other Thu-
factories, but whiter
ringian pastes. Table services were largely made, and the favourite
forms of jugs and coffee-pots were classic in type, and decorated
with portrait medallions ornamented with festoons of drapery and
flowers —
the portraits being sometimes modelled in relief.
Besides the R-g referred to above, and the marks given below,
which are generally in blue but occasionally in red, some speci-
mens have the R impressed. The garter with a cock and word
Gotha is the mark of the modern productions.
There are specimens in the Franks collection.
A. a
G R
2IO GOULT— GROSBREITENBACH
GOULT, Fkaxce.
Herr Jannike gives these marks for faience
M-i- made here. The works existed from 1740 to

about 1805.
GRAFENRODA, Germany.
Herr Jiiiinike gives this mark as that of a
modern factory of faience estalilished here by A.
Schneider.
Grafenthal (see Thuringia).
GREINSTADT.
The stock and utensils of the Frankenthal factory
(q.v.) were
purchased in 1850 by M. Von Recum, and transferred to his
Thuringian estabhshment. The works were recently carried
on by Franz Bartolo, whose mark is his two initials.
FB
Gkes de Flandres (see
I
Cologne).
B
GRESLEY OR CHURCH GRESLEY, Derbyshire.
A small porcelain manufactory was established about 1705 at
Gresley Hall, formerly the seat of Sir Nigel Gresley. Chaffers
quotes a letter from a Mr. W. Brown, whose grandfather purchased
Gresley Hall from the Gresleys, and says that there were found
" many dozens of Wastrels, plates of fine transparent china, white,
with a deep blue tree with birds they were all said to be im-
;
perfect or they would have received a second colour in gold."

From some specimens formerly in the Jerrayn Street Museum,
which are said to be of Church Gresley manufacture, the author
thinks that some of the rather doubtful pieces of china having
the appearance of Crown Derby, but unmarked, may be attributed
to this factory. Specimens are generally immarked, but the
exceptions have "%'hurch Presley " scratched in the paste, often so
indistinctly that it may easily escape notice.
GROSBREITENBACH (Hesse-Darmstadt).
An miim]i()rtant factory was established here in 1770 by
Gotthelf Greiner, who was also the director of other cerannc
works — namely, Limbach, Kloster Veilsdorf, and Volkstedt, all be-
longing to the Thuringian group.
GROSBREITENBACH—GURBIO 2 11
The character of all these factories is similar, and the mark
of three of them the same (a trefoil), hence some confusion.

Greiner died in 1797, and left his porcelain works to his sons,
who, however, do not appear to have inherited their father's taste
or energy. Cups and saucers of ail these factories are found with
prettily painted landscapes (hard paste). The mark, a trefoil, is
generally painted somewhat sketchiiy in a brownish colour.
<% <^
GUBBIO.
Gubbio is one of the many Duchy of Urbino
places in the
where majolica was made and sixteenth centuries
in the fifteenth ;
but it is pre-eminently important on account of its connection

with Maestro Giorgio Andreoli, whose name is so well known, and
whose works are eagerly sought after by collectors. These are
famous, not only for bold and masterly drawing, but for the peculiar
lustrous pigments that he used. The many marks form a study in
themselves. A few examples of his eccentric signatures, whicli
occur upon specimens in public and private collections, are given.
His first signed work was dated 1519, and his last 1541. He
appears to have worked at Castel Durante and other factories
besides Gubbio but as he was established here, it is with this
;
factory that his name has been identified. An interesting col-

lection of his marks will be found in Chaffers' later editions
of Marks and Monograms, edited by the author since 1897.
They occupy nearly eleven pages, and the collector who is
ambitious enough to wish to possess genuine specimens of Gubbio
would do well to consult this work, and also Dr. Drury Fortnum's
Majolica, where particulars of the best known collections are
given. He should also study carefully the specimens in the Victoria
and Albert and British Museums, and in making purchases should
select a dealer of first-class reputation. Imitations are very clever,
and the genuine article is very difficult to meet with.
Giorgio's most famous plate is the one painted with the
Three Graces, signed and dated 1525. Mr. Fountaine, of Narford
Hall, gave 400 guineas for this specimen, and at the sale of his
collection in 1884, Mr. Beckett Denison bought it for £^66, 10s.,
and again at his death it was sold in 1885, when the Victoria and
212 GUBBIO— HAGUE
Albert Museum purchased it for £^^0, 19s. 6d. would have
It
realised a still higher price only Mr. George Salting, who was
competing, left oft' bidding in favour of the Museum agent. There
are some really wonderful plates of this majolica in the Salting
bequest, and two of the best are those with subjects, " The
Allegory of Envy " and " Lovers in a Landscape."
A revival of the old majolica manufacture has recently taken
place at Gubbio, and several specimens are in the Victoria and
Albert Museum Pottery Gallery. (See also notice on Majolica.)
J^'ii ?A^ M.
(For other signatures of Giorgio, see notice on Majolica.)
GirsmrsBER^
gustafsberg.
Decorated earthenware was made here
from about 1820 to i860.
HAGUE.
A factory of both hard and soft-
paste porcelain was established here
about 1775 by Lynker, sometimes
spelt Leichner, a German potter, and
during its short existence some care-
fully decorated specimens, chiefly tea
services, were produced. The general
characteristics are similar to those
of Amstel, but the painting is in
some cases much finer, and the glaze
is so full that at a first glance it
gives one the impression of soft

paste. It is said that white soft-
paste china was purchased from

Tournay, decorated by the Hague
painters, and marked with the stork,
and some specimens examined by
\ asc of 'Ihe lla"uc cliina. the author tend to confirm this
HAGUE— HANLEY 213
opinion. Specimens are rare because so few pieces were produced,

as owingto political events and its inability to compete with
rival establishments, the factory was closed about 171^5. The
mark is a stork, generally standing on one leg, with a lish in its
mouth, in blue, grey, or gold.
Part of a fine service, painted in birds and having a beautiful

rich bleu dc roi decoration, is on loan to the Victoria and Albert
Museum from Mr. J.
G. Joicey.
Haldensleben (see Alt Haldensleben).
HANAU, Holland.
Faience was made here in the seventeenth and eighteenth
centuries, but verylittle is known about it. Marks; the name
" Hanau," the initial " H," and the initials " V.A.," of Von
Alphen, the proprietor at the beginning of the eighteenth century.
HANLEY, Staffordshire.
The district around Hanley, in Staffordshire, appears to have

been noted for pottery as early as the seventeenth century.
Chaffers mentions the factory of Joseph Glass, who produced a
kind of slip-decorated ware in 17 10, and he quotes a four-handled
tyg of this ware formerly in the Staniforth collection, which has
the name in full, 3|O0ep|) (01908, ^.F.}^.(0.^., painted round
its body.
It was at Hanley well-known " Voyez " jugs and
that the
vases were produced. These are in earthenware, with foliage
and subjects in rather high relief, and signed J. Voyez. Chaffers
describes a high vase of black basalees, with a sculptured medal-
lion representing Prometheus attacked by a vulture this has the ;
signature "J. Voyez, sculpebat, 1769," while its square plinth is
signed " H. Palmer, Hanley, Staffordshire."

For some further information about Voyez, the notice on
Staffordshire should be referred to, also separate notice of Voyez.
214 HANLEY— HARBURG
Elijah Mayer began business in Hanley in 1770, and made
good ware in imitation of Wedgwood. Some of his productions
are marked "Joseph Mayer & Co., Hanky."
In a notice of JNIeigh there will be found a further reference
to this district, where the Old Hall works, which at one time
belonged to a man named Whitehead, were taken over about
1780 by Job Meigh.
Some good printed ware was also made by Johnson, and
Major-General Astley Terry has a mug marked Johnson,
Hanley, Stone china.
A great many other potters had works near Hanley, and it is
still a busy centre for the manufacture of modern earthenware.
Chaffers' Marks and Monograms, 13th edition, should be

referred to for particulars of many of these old Staffordshire
potters.
HARBURG, Hanover.
It was forinerly believed that a
factory of faience existed here in the

seventeenth century, of which Johan
Schaper was the proprietor. His
paintings are characterised by their
excellent finish. The specimen
illustrated is in the Victoria and
Albert Museum, Marks : Schaper's
name or initials.
In reference to this specimen
the author has a note during the
revision of this book from Dr. Jus-
tus Brinckmann of the Hamburg
Museum, to the effect that there
never was a fadoiy at Harburg, but
that Schaper was born there and that
he painted on faience, but not at
Harburg. It is, of course, possible
that the jug illustrated was made

Ilarburt; Jug, painted inllandscape by
Johan Schaper.
elsewhere and only painted and
(Victoria and Albert .Museum.) signed by Schaper.
Haviland & Co. (see Limoges).

Heath Pottery (see Fenton, also Lane Delph).
HEDINGHAM 215
HEDINGHAM, OR CASTLE HEDINGHAM Ware, Essex.
No notice whatever has been taken of this ware in any of the

books on EngHsh pottery. The author's notice was directed to
it by Mr. Edward Sheldon of Manchester, who wrote to him
about a specimen bearing tlie mark of a castle gate, which he was
unable to identify. The famous Essex Jug, of which an illustra-
tion is given by consent of Mr. Arthur Wright the curator, is in
the Corporation Museum of Colchester, and by Mr. Wright the
author was put into communication with Mr. Miller Christy, who
edited the industrial section of the Victoria County History of
Essex. It from this source that the following particulars are
is
taken. Edward Bingham, born in 1829, was the son of a

Lambeth potter who had settled at Gestingthorpe, and while
chiefly employed in making plain pottery, also modelled puzzle
jugs and toy cuckoos, which cried " Cuckoo " when blown into
!
;
he also made garden vases. In 1837 the family migrated to

Hedingham in Essex, and there the son Edward assisted his father,
and at the age of ten years showed his innate love of design by
modelling flowers, leaves, snakes, and other natural history subjects.
After spending some time away from home assisting an uncle
who was teacher to the deaf and dumb, at a Rugby college, young
Bingham returned to Castle Hedingham and assisted his father in
his business of plain potting. He seems, however, to have been
ambitious of producing artistic work, and after many experiments
and failures he obtained commissions from some influential
persons. Sir A. W. Franks and others interested themselves in
his wares. Commercial success, however, did not come quickly,
and we hear of him setting up a school in 1859 and obtaining
twenty-nine pupils. All his spare time was occupied in modelling,
and after some six or seven years he gave up school-keeping to
return to his beloved potting. In 1864 he was employing five or
six lads as assistants, and with models and books lent to him by
friends and neighbours he produced many quaint jugs, vases, and
drinking cups. The peculiar greys, blues, greens, and warm
browns, that distinguished his Hedingham ware became known,
and in 1885, his most productive year, he had no less than
thirteen kilns burning. An exhibition of his ware at the Home
Art and Industries Exhibition, Albert Hall, in 1894, attracted con-
siderable attention.
With the exhaustion of the native clay, he had to bring the
2l6 HEDINGHAM
his ware altered.
material from Devonshire, and the character of
He made over the business to his son in 1899, and it was sold
two years later to Hexter, Humpherson & Co., of Newton Abbot,
Devonshire. It was called the
" Essex Art Pottery," and Bingham
was its manager. The new venture was unsuccessful, and the
works were closed in 1905.
The old pottery made at Castle Hedingham by Edward
The Essux Jui;, by E. liliii^haiii, Castle Iledin^ham, Essex,
9I in. high, in the Colchester Museum.

Ffom a Photo. l>y îK. Arthur Wright, Curator.
Bingham is now rare, and may become valuable. The " Essex
Jug" in Colchester Museum is ornamented with various
the
medalHons illustrating the history of the county (the revolt of
Boadicea, the Dunmoor Flitch ceremony, and the arms of Essex
county families). This design was repeated, and there are
probably specimens extant which their owners have been unable
to identify correctly. The jug has incised underneath " E. Bing-
ham Castle, Hedingham, No. 3 Trial piece for the Essex Jug."
;
HELSINBERG— HESSE-CASSEL :I7
HELSINBERG.
Stoneware of good quality was made here towards the end
of the eighteentli century. Mark, impressed Helsinberg.
:
Henri H. Ware (see Saint Porchaire).
Herculaneum (see Liverpool).
HEREND, Hungary.
Porcelain wasmade here towards the end of the eighteenth
century, but known either of the factory or its produc-
little is
tions. The marks used were the name " Herend," either im-
pressed or incised, and the arms of Hungary, as below.
A china manufactory was established here by Moritz Fischer
in 1839, and was lately carried on by his son Samuel. The
speciality of the productions is the imitation of old Sevres
and Oriental porcelains, and the finest specimens are so closely
copied as to deceive any but the most experienced collector.
The execution, both in gilding and painting, is very good, and
it seems a great pity that so much talent has been applied to
furnish specimens, which, in the hands of unscrupulous dealers,
are the means of deception and fraud.
The earlier marks of the Herend /rt^r/^/wc were the arms of
Hungary, but on the counterfeit pieces the marks of various
factories were forged. M. F. of course stands for Moritz Fischer.
HEREND.
NF
HESSE-CASSEL or CASSEL
A factory of the usual kind of German hard-paste porcelain
was established here about 1766 as a development of a faience
manufactory which had been in existence for nearly a century
and had carried on an extensive business. A potter named Paul,
who had previously been manager at the Fulda factory, was
2i8 HESSE-DARMSTADT— HISPANO-MORESCO
engaged, and in 1769 the Cassel pottery under his direction was
producing tea, coffee, and other table services at moderate prices.
A characteristic of this china is a ribbing, by way of ornamen-
tation, and the decoration is generally slight, sometimes painted
in blue with detached sprigs of flowers.
The factory never achieved great success, and owing to the
competition with local earthenware, was closed in 1788. A
running horse impressed, which was formerly attributed by
Chaffers to this factory, is now considered to be one of the older
Fiirstenburg marks.
Herr Jiinnike gives the letters H. C. with a lion rampant as
a mark used on porcelain made here in the eighteenth century.
^^-^ HESSE-DARMSTADT.
"^^ M. Jacquemart attributes this mark to porcelain
I \_J made at a place called Kelsterbach.
Eslab. 1756.
_ _ HILDESHEIM, Hanover.
\\ A small factory of hard-paste porcelain, of which
Q_^qJ little is known ; established about 1760.
HISPANO-MORESCO.
Comparatively little was known of Hispano-Moresco pottery
as a separate class, until Baron Davillier wrote a pamphlet entitled
Histoire des Faiences Hispano-Morcsques a Reflets Meialliqties, Paris,
1 861, and such specimens as were in our museums and private
collections were mixed with those of Italian majolica.

As the title Hispano-Moresco suggests, the decoration is the
result of Moorish influence on the ceramic art of Spain, and is the
successor of the much earlier Arabic pottery which dates from about
the eighth century, whereas the earliest known specimen of the class
of decorative pottery wliich we call Hispano-Moresco dates from
the end of the thirteenth or beginning of the fourteenth century.
Tlic ground-colour is a pale buff, and the particular feature
of the decoration, is the ornament in lustred pigment, of a rich
iridescent brown colour, sometimes relieved witli blue, which is
highly effective. One of the finest specimens is a large two-
handled vase, of which an illustration has been given in Chapter II. ;
HISPANO-MORESCO :i9
it is said to have been made at Malaga, and was formerly in

the Soulages collection, but is now in the Victoria and Albert
Museum.
The art of decorating pottery in metallic lustre colours was
probably derived from Persia, and may have been introduced into
Spain by her Saracen invaders. The process is similar to that
which has already been described in the notice of Italian lustred
majolica. A considerable quantity of this ware was made in the
south of Spain, notably at Malaga, for Italian patrons, and dishes
dating from the latter part of the fifteenth century are found
decorated with the arms of some of the old Florentine families.
Those which one generally sees date from the sixteenth century ;
many have portions of Arabic texts incorporated into their decora-

tion. They are generally unmarked, but the marks given below
occur on some specimens.
Those dishes, which have patches of blue colour introduced
into the decoration, are generally ascribed to the sixteenth
century, and at the end of this century the art seems to have
declined and disappeared for a time.
Many fine specimens, generally in the form of deep round
dishes, are in the famous collection of Mr. Du Cane Godman,
and there are several in the collection bequeathed by Mr. George
Salting to the Victoria and Albert Museum. There are also some
fine examples in the British Museum (Henderson collection).
Within the last few years, owing to the high prices which
have been given for good specimens of this ware, there has been
a revival of its manufacture in different parts of Spain, but the
modern productions are very inferior, and are lacking in the vigour
and brilliancy of the old fifteenth and sixteenth century pieces.
Some further notes on this class of pottery will be found in
Chapter II.
XVI. Century.
XVI. Century.
(111° Sigf. Cardinal D'Este In Roma/
220 HORNBERG— HUBERTSBEKG
Marks on Fifteenth and Sixteenth Century Hispano-Moresco dishes.
HiZEN Ware (see Japan).
HocHST ( see Mayence).
HORNBERG.
Herr Jiinnike gives this mark for the modern
faience made by Horn Freres.
HOXTER, Old Duchy of Brunswick, Germany.

A small porcelain factory was started here by a flower painter
named consequence of an agreement
Zieseler about 1770, but in
with the Brunswick, who was interested in the Fiir-
Duke of
stenburg factory, the works were discontinued. Subsequently
a potter named Paul Becker established himself here, and
succeeded in producing some finely painted services. Chaffers
states that Becker was one of those who obtained the secret
of porcelain-making from Ringler. The mark is the name
Hoxter.
HUBERTSBERG, Saxony.
Salt-glaze earthenware was made
here in the eighteenth century. Chaffers
gives these marks.
HULL— ILMENAU 221
HULL, Yorkshire.
Mr. William Bell established a pottery here about 1820,
which he called the Belle Vue Pottery. The output was prin-
cipally cream-coloured, printed, and painted earthenware of the
cheaper kinds marked specimens are rare.
;
Ok
^/UliV
Marked Tea-pot, transfer decoration, in the

collection of Mr. Thos. Eoynton, F.S.A.
HUNSLET, NEAR Leeds, Yorkshire.
It doubtful if pottery was made here, though the in-

is
scription"Richard Craven, Hunslet, October i8th, 1815. W.

Houlden," occurs on a piece in the Hon. R. G. Molyneux's
collection.
ILMENAU (Thuringia).
This was one of the Thuringian group, but quite a minor

concern, started by a potter named Grabners, who had formerly
worked at Grosbreitenbach. The Duke of Weimar granted him
a concession in 1777, but he appears to have been in continual
difficulties, and in 1786 Gotthelf Greiner became proprietor,
and was succeeded on his retirement by Christian Nonne, whose
name has been mentioned in connection with the Volkstedt
factory.
The speciality of the Ilmenau works was the production of
small plaques in imitation of Wedgwood's jasper ware.
222 ILMENAU— ISLEWORTH
Specimens are marked
9?
I
d&
and sometimes with two letters, N and R, being the initials of
Nonne and his son-in-law, a man named Rosch.
Herr Jiinnike gives this mark for modern

pottery made here.
iMAKi (see Japan).
I MO LA, Italy.
M. Jacquemart throws some doubt upon the existence of a

factory here, but the author is indebted to Mr. Leonida Caldesi, an
Italian gentleman, for the following particulars. Since the middle
of the eighteenth century a manufactory of majolica was in exist-
ence at Imola, but it was not until 1 83 i that it became the property
of Sante Brucci, under whose direction it progressed in importance,
and was noted for the elegance of the forms of its productions and
the beauty of the glaze used. In 1861 the gold medal was awarded
to it at the Florence Exhibition, and it then assumed the title of
" Ceramic Co-operative Society," the first of the kind formed in
Italy. The mark is
" Sante Brucci."
ISLEWORTH.
A small factory was established in 1760 by Joseph Shore
from Worcester, and the works were at Railshead Creek close
to the ferry. There were some fifteen to twenty hand painters
employed, and the chief of these, Richard Goulding, married his
employer's daughter, and he and his son William carried on
;
JACKFIELD— JAPAN 223
the factory after Shore's death. The manufacture of porcelain

ceased about 1800, but the stock remained until 1830, when it
was sold by auction.

" Welsh ware " was made here in 1825. Chaffers mentions a
specimen of Isleworth pottery marked Wm. Goulding, June 20,
1770.
Mrs. Arthur Macdonald has an octagonal tea-pot of red ware,
something like Elers ware, of Oriental decoration in relief, which
is impressed SHORE AND Co.
JACKFIELD, Shropshire.
Pottery was made here certainly as early as 1 560, and probably
much earlier. A considerable number of specimens bearing dates
from 1634 to 1 78 1 are known. Jackheld pottery has a red body
with a thick and rather lustrous black glaze, and is generally
found in portions of tea-services, the tea-pot being of what is
known as the " goose form," a favourite shape of the period.

Some of these black pieces are decorated with a pattern in silver.
About 1780, Mr. John Rose and Mr. Blakeway purchased the
works, which were closed soon afterwards, and the plant, &c.,
removed to Coalport (q.v.).
JAPAN.
Until Japan was opened up to European civilisation about
forty years ago, but little was known of the country, its art, or
its manufactures. The extraordinary exclusiveness which pre-

vailed after the expulsion of the Spaniards and Portuguese at
the end of the sixteenth century made it almost impossible to
carry on any intercourse with the Japanese. About the year
1637 a decree was made law which imposed the death penalty
on any Japanese who returned from visiting a foreign country
no native was allowed to leave the country, nor was any one per-
mitted to purchase goods from a foreigner, and this exclusiveness
lasted until about 1859, when the famous visit to the country of
Lord Elgin and Commander Perry resulted in certain ports being
thrown open to foreign trade. Then followed the revolution in
Japan in 1868, and since then we have seen a change so marked
in the enterprise and ambition of this intelligent and industrious
people, so as to make one astonished that within such a compara-
tively recent period so little was revealed to the outside world
of the inner economy of Jajian.
224 JAPAN
It is uncertain when pottery was first made in Japan. The
date given by Dr. Hoffmann of Ltyden, of 27 B.C., when the
Coreans are said to have founded a colony and started a pottery,
is probably fabulous, and we know but little of any pottery or
porcelain previous to that which the Dutch imported somewhere

about the beginning of the sixteenth century. These enterprising
pioneers of trade with the East, obtained a footing on an island
near the port of Nagasaki, and carried on a trade in secret with
the Japanese, and a great deal of the old pottery and porcelain that
comes to us was first sent to Holland. This probably accounts
for the curious fact that the fine old Japanese china, now so much
valued by collectors, has so little of the character which one
would expect to find in the products of a country so independent
of Western civilisation.
Another singular fact about this old Japanese pottery and
porcelain, is that there is no place in a Japanese house where such
vases as were made could be placed such articles as the well-known
;
sets of Japanese vases and beakers would be quite out of place in a

native interior. Pairs of vases or of figures would be contrary
to Japanese taste, which prefers eccentricity to symmetry.
It is therefore certain that the Japanese potters worked for
export to China, where pottery and porcelain have always been

valued, and to Holland, where it had a considerable European
market. Japanese china was also exported to Portugal, then
under the influence of the Dutch.
The collection of Japanese ceramics made with the assistance
of our Government, and arranged in the Victoria and Albert
Museum, is very instructive as to the different periods of manu-
facture and in an admirable little brochure upon this collec-

;
tion, with descriptions and illustrations of the specimens, the

late Sir WoUaston Franks has placed information within the
reach of every one who may wish to consult its pages on this
subject. The Salting bequest contains some good specimens of
old Japan porcelain.
The Corean invasion, whenever it took place, is said to have
started the industry, but except in some of the forms of vessels
which we still find in the straw-coloured pottery known as Satsuma,
the Corean influence does not seem to have been permanent.
The real influence came from China, and is attributed to one
Gorodayu Shonsui, of Ise, who returned from a visit to China in
1513 and settled in the province of Hizen. His first productions
were made from Chinese models and decorated in blue colour
JAPAN 225
only. Gradually factories seem to have increased and multi-

plied, for in 1799 we hear that there were eighteen in this pro-
vince in the neighbourhood of Imari, and it is from these factories
that most of what we now term "old Japan" was produced.

Besides Imari, some of the principal Japanese porcelain factories
were at Kioto, Kishiu, Kutana, Kiyomidzu, and Hizen. There are
Round Dish of old Japan. In the author's possession.
specimens from all of these factories in the British Museum,

besides others which were decorated at Tokio although made
elsewhere.
The ancient pottery, which dates from a very early time, is
similar to other Eastern pottery of the archaic period.

The china which we collect now as " old Japan " is very hard
indeed as to paste, the ground has a bluish tint,and the
decoration is striking and effective. The conventionalised
chrysanthemum, which is the imperial crest, and other heraldic
P
226 JAPAN
badges of the Mikado's family, are often found, and the scheme
of decoration generally consisted of a number of panels filled with
foliage of the peony and chrysanthemum, the prevailing colours
of which are deep blue, Indian red, and gold. Figure subjects are
not common on this kind of china, but one finds representations of
flying cranes (the crane was an emblem of longevity), the phoenix,
which to some extent occupies the place of the Chinese dragon
in representing imperial dignity, and the Kirin (not to be con-
founded with the Chinese Kylin), a monster with the body and
hoofs of a deer, the tail of a bull, and a horn on his forehead.
There is also a curious lion, and a sacred tortoise. The fishes
are drawn with great skill, especially a kind of bream, and a
carp, which is usually represented as leaping a cascade. One
also finds quaint representations of horses, buffaloes, dogs, and
stags, butordinary landscapes rarely occur.
The egg-shell china of Japan is of a much later date, and has
only been produced during the last fifty or sixty years. The
decoration of this later period of Japanese china is, on some kinds,
a very impoverished reproduction of that on the older ware, but
on the egg-shell china it is generally the representation of a
number of figures in native costumes, and one also finds landscapes
in which the famous and only mountain of Japan, " Fujiyama,"
is generally to be seen.
Besides the ware of the Hizen factories, of which there are six
different varieties, there are some fifty or more different kinds of
Japanese porcelain which will be found represented in the South
Kensington collection, and alluded to in the little handbook already
mentioned. In all of these, however, the collector of old china
has but a slight interest. The real old Japan, which has been
here slightly described, is of the chief interest. The marks are
numerous, but, like those of China, they cannot be relied upon, for
on the older kinds there is, as a rule, either no mark at all, or a leaf,
generally painted in blue. On the more recent productions one
finds characters indicating the places where the specimen was
made, or the mark of the potter. On much of the Japanese
porcelain exported to Europe, copies of Chinese date marks
were placed. The reader is referred to Chaffers' Marks and Mono-
grams for a list of the numerous marks and symbols used by
the Japanese potters.
—
Satsuma. The buff-coloured pottery of quaint forms, with
decorations in gold and colour, which we recognise as Satsuma
ware is remarkable, because this kind of pottery alone seems to
JEVER— KELLINGHUSEN 227
have retained some of the more ancient forms introduced by the

old Corean potters. The curious tripod incense-burner, which one
sees occasionally, illustrates a type of this Oriental-shaped vessel,
and it is singular that with the exception of the Satsuma ware,
the old school of potters founded by the Coreans, does not seem
to have materially infiuenced Japanese ceramics, which, as we
have seen, copied either Chinese forms or those in demand by
the Portuguese and Dutch traders. Since Satsuma ware became
somewhat fashionable, quantities of rather gaudily decorated pro-
ductions have been manufactured to supply the demand, but the
only specimens worth collecting are those made anterior to this
revival. The decoration of these early pieces is very minute
and careful the faces and details of the costumes of the figures
;
will bear close examination under a magnifying glass.
JEVER.
This place mentioned by Dr. Justus Brinckmann in a letter
is
to the author, as the locality of a faience factory where a potter

named Kirch worked previous to 1765, when he migrated to
Kellinghusen. Specimens of several of these rather obscure
German fabriqiics are to be found in .
the Hamburg Museum, and information jl T C ^ U

respecting them is given in the catalogue
compiled by the learned Curator (Dr. 'f^
Brinckmann), to whom the author is indebted for many valuable
notes. The mark in the margin is given by Jiinnike, and a modern
factory is said to be in existence here.
KELLINGHUSEN
Another German
(Holstein).
factory, also of
H AH
faience. Marks as in the
given by Chaffers, and the latest edition
margin are
A,
of this work contains additional informa-
tion of the different potters who worked
here from 1765 to 1840.
Kelsterbach (see Hesse-Darmstadt).

228 KIEL— KLOSTER VEILSDORF
KIEL.
Chaffers mentions a factory of faience at Kiel, on the shores

of the Baltic, under the direction of Jean
'~\f~^{ Buchwald, who had formerly been a

dXiel/ master potter at Marieberg, and he de-
^jic(riiy\"at<i.3)irectn: scrilies certain specimens as signed and

^, /^w , dated from 1767 to 1770. The mark
^bv:Jeik(untrf.U. g;^,^,^ j„ t,^g margin is on a punch-bowl
Kiel. Circa 1770. in the form of a bishop's mitre, decorated
with a painted subject of ladies and
gentlemen
to
seated at a table drinking " bishop " out of a bowl of
similar form. This important specimen, which was formerly in
the Reynolds collection, is now in the Hamburg Museum, which
also contains several other examples. The name of this painter,
Abraham Leihamer, occurs conjunction with that of Buchwald,
in
on some other faience, which was made at Stockelsdorf and
Eckernforde, but neither of these latter factories ever attained the
importance of the one at Kiel. In general appearance the ware
made at Kiel resembles the Marieberg ware, and specimens are
"
known which have the word Kiel accompanied by other initials
"
besides those of Leihamer and Buchwald. Dr. Justus Brinckmann
mentions that the initial T., which is on one of the Hamburg
Museum examples, is that of a painter named Johann Samuel
Friedrich Taenich, who worked here from 1764 to 1768, and
occasionally signed specimens with his name in full. The latest
(thirteenth) edition of Chaffers contains several marks of this
fabriquc, and should be consulted by the collector who is specially
interested in German faience.
Klosterle, Bohemi.a (see Bohemia).
KLOSTER VEILSDORF or CLOSTER VEILSDORF.

This is one of the Thuringian group of porcelain factories,
and has hitherto been confounded with that of Volkstedt. Some
misunderstanding has also arisen from the variation in spelling
of the first word of the name, the mark C. V. apparently being
not applicable to Kloster Veilsdorf. The explanation is that the
older German spelling was Closter. The factory was founded
in 1765 by Prince Eugen von Hilburghausen, but later two sons
KLOSTER VEILSDORF— KORZEC 229
of Gotthelf Greiner became proprietors, and a member of the

Greiner family owned it in 1823. -
Table services, groups, and figures similar to and indeed almost

identical with those made at Limbach and at Volkstedt were pro-
duced, and the general characteristics of the paste, glaze, and
appearance of specimens from the three factories are the same.
A great many pieces were unmarked.
In addition to the marks given below, the trefoil in a very
rough and indistinct form was sometimes used. This trefoil
in various forms and colours is common to several of the
Thuringian factories.
^"XV
r
KONIGSTEDTEN.
Modern German faience, made by J.
C. Frede. F^
KORZEC, Poland.
A porcelain factory was established here about the beginning
K0rz<2c
^
EsL^blished 1S03,
by Merault.
of the nineteenth century, Merault, from Sevres, being the first

6
2 30 KiJNERSBERG— LAMBETH '
director. The china (hard paste) is of excellent quality and

decoration, and many pieces might easily be mistaken for the later
hard paste Sevres china.
KrONENBURG (see LUDWIGSBURG).
KUNERSBERG.
This mark is attributed to faience made here, on the authority
of M. Jacquemart.
lUciierjuem
Laforcst en laforest, savoy.

Savoy M. Jacquemart gives this mark, but nothing
is known of the factory.
1752.
LAKIN & POOLE, Hanley.

This firm, which was established about 1770, and appears
to have ceased before 1786, made Wedg-
excellent imitations of
wood's basalt-ware, Queen's ware, &c. The mark used was the
name of the firm impressed. (See also Hanley.)
LAMBETH.
Professor Church has devoted a good deal of research to find-
"
ing out when the early faience which we recognise as " Lambeth
was first made, and in his hand-book entitled English Earthen-
ware, he gives us some interesting facts. He quotes from a
patent which was granted in 1676 to a Dutchman, John Ariens
Van Hamme, for the "art of makeinge tiles and porcelain
and other earthenwares, after the way practised in Holland."
This potter settled in Lambeth. There seems to be no record of
a pottery at Lambeth previous to this, but we know of several
specimens of what we believe to be Lambeth faience which bear
dates anterior to Van Hamme's work. The peculiarities of this
old Lambeth faience are quaint forms, and a buiJ body or paste
with a thick opaque white enamel on which is painted in blue the
—
LAMBETH 231
decoration. Wine bottles, large dishes, posset pots, puzzle jugs,

and pill slabs are the specimens, which are best known to us.
There were formerly two specimens of these pill slabs in the
Victoria and Albert Museum, which bear the arms of the
Apothecaries' Company. Professor Church gives a list of some
twenty-three wine vessels that he is acquainted with, the earliest
date of which is one inscribed " Whit wine 1641," in the Schreiber
collection, and the latest "Claret 1663." The author purchased
several many years ago, at the sale of the Edkins collection
one of them was inscribed
" Sack " with a date ; and there
are others in the collections of
Mr. tlenry Willett, in that of
W. Franks in the
the late Sir A.
BritishMuseum, the Norwich
Museum, the Mechanics' Insti-
tute, Hanley, and others. On
many specimens of Lambeth
faience there are initials as well
as dates, and sometimes a coat
of arms. Major-General Astley
Terry had a complete set of
plates, all of one date, " 1734,"
and the verse " What is a merrie
man," &c., and there is a similar
set in the British Museum.
While these pages are being pre-
pared for the press (191 1) a set
of six of these plates with the
legends above were sold at Wine Bcittle of Lambeth Faience (Victoria
Christie's for 68 guineas from and Albert Museum).
Sir John Evans' collection. Mr.
Robert Drane of Cardiff has a similar set of plates, but of octagon
shape instead of round.
Besides these pieces made for use, there are in existence
some large dishes with elaborate designs in colours, on a white
ground of stanniferous enamel, which are ascribed to Lambeth.
A very fine specimen of this kind is the dish decorated with
Jacob's Dream, dated 1660, which is in the British Museum, and
another is the dish which was in the Willett collection, painted
with the Temptation of Eve. Fine Lambeth faience of this
quality is very rare, and generally resembles the old "delft" or
"
232 LAMBETH
Dutch faience, it can only be distinguished by
from which
certain treatment in its decoration, which may be
details of
recognised as English rather than foreign. About the middle
of the eighteenth century, there appears to have been a " delft
pottery at Lambeth, established by a Mr. Griffith, but there is
nothing by which we can identify any of his work. Collectors
who are especially interested in old Lambeth faience should con-
sult Mr. John Eliot Hodgkin's valuable work on Early Eng/is/i
Pottery, Named, Dated, and Described. (See notice on WiNCANTON
Pottery.)
DOULTON'S LAMBETH POTTERY.

In 1818 Mr. John Doulton established a stoneware manu-
factory at Vauxhall, and with Mr. Watts as partner, the business
was afterwards removed to High Street, Lambeth. Since the
1851 Exhibition, great strides have been made in the develop-
ment of the artistic branches of their manufactures and the ;
ornamental buildings on the south side of the Thames Em-

bankment, just above St. Thomas's Hospital, contain comfort-
able studios, where a great many lady artists are constantly
employed painting original designs on the different vases ; for
their education and reference, there is a library, and also a
museum attached.
The artistic may
be divided into three classes, each
pottery
bearing a special mark
marks i, 2, 3), namely, Doulton
(see
Ware, Lambeth Faience, and Impasto.
The processes employed to produce the first-named well-
known stoneware are very simple. The vessel after leaving the
wheel is handed to the artist, who with a pointed instrument
scratches in the soft surface of the clay an
original design ;
the " pattern " so delineated coloured some neutral

is then
tint that will harmonise with the ground colour any such ;
ornament as the often seen "beaded" veins is added, the whole

being coated with a saline glaze, and stamped with a die, which
always bears the year of its production, and so hinders the
possibility of fraud. The piece is then placed in the kiln, and
so only receives one firing, instead of the three to which porcelain
is subjected.
The appearance Doulton ware is very like the old Gris de
of
Flaudres, of which production is really a revival.
its
Tlie title " Lambeth Faience " has lieen given to those pieces
LAMBETH !33
which are hand-painted, the designs being mostly floral, though

a few of the lady artists are singularly clever in rendering land-
scapes (original sketches) on the slabs of white biscuit prepared
for them the faience therefore differs in this respect from the
;
Doulton ivarc, from the fact that it requires more than one firing.
The glaze of this class, too, differs somewhat, giving a duller
polish to the surface.
The decoration of the " hnpaslo " consists in a bold application
HENRY DOULTON & CO-. LAMBETH.

An ide.ll head ; specimen of paintiii" Doulton Ware Jug, designed and
uver the "laze. executed by Mr. F. Butler, a deaf and
dumb young man.
of coloured clays, more or less thickened, to the surface, and this

leaves the design inand is very effective. An in-
slight relief,
genious manipulation, too, of these argillaceous pigments, varying
as they do in consistency, heightens the artistic effect by securing
here and there an opaque or translucent enamel, according to the
desire of the designer.
The present firm is styled Henry Doulton «& Co., Limited,
the business having been in i8q9 turned into a Joint Stock
Company, owing to the death of Sir Henry Doulton. In
addition to the artistic portion of their business, they are the
largest manufacturers of pipes and pottery for all sorts of
—
234 LAMBETH
sanitary and domestic purposes. They also manufacture earthen-
ware in slabs and tiles, which are decorated by hand-painting,
both under and above the glaze one peculiarity of their manu-
;
facture is that they do not print their designs, and so, rarely, if
ever, repeat the pattern of even the most ordinary and inex-
pensive articles.
f-H 1875 !^)
Specimens of Doulton ware, decorated by Mr. F. A. Butler

and Miss Hannah Barlow, were formerly in the Museum of
Practical Geology.
In addition to the marks already given, the following are used
for different kinds of ware :
DOULTON
a slater's
PATENT
tNGL>\Nr-
<
o
5
%ori*^*
Many marks are given in the more recent

additional artists'
large edition of Chaffers, and also special marks of some different
kinds of ware introduced during the last few years.
Doulton's Lambeth School of Art has the credit of having
produced one of the most talented plastic artists of modern times.
George Tinworth is well known for his skilful rendering, in terra-
cotta higli relief, of Scriptiue subjects.
LAMBETH— LANE DELPH 235
OTHER LAMBETH STONEWARE.

Besides the great firm of Doultons there are other firms in Lam-
beth who have from time to time made more or less ornamental
stoneware, and now and again one finds quaint bottles or jugs of
a stoneware, similar to that of which the ordinary ginger-beer
bottle is made, but in such forms as render them of sufficient
interest for collectors to add them to their catalogues. Some of
these are signed J.
Thursfield, Fore St., Lambeth, J. Stiff, High St.,
Lambeth and precisely similar specimens, varying only in subject,

;
are signed Belper & Denby, Bourne Potteries, Derbyshire, and

J.
Oldfield & Co., Chesterfield. These stoneware bottles were
made for gin or cordials, and are in the form of caricatures of
William IV., Pitt, Lord Brougham, the Duke of Wellington,
or other celebrities, and have incised such words as " The Re-
form Cordial." They were sometimes made specially for some
well-known public-house of the time, and used probably as ad-
vertisements to present to customers. They are rudely moulded,
and have little merit, but collectors are sometimes puzzled when
they find such pieces without special marks or names. Major-
General Astley Terry has made quite a collection of such pieces.
LANE DELPH, Staffordshire.
This place is not far from Fenton, in the Potteries, and

here earthenware was made at least
as early as 17 10, by Thomas Heath. miles
The names of other manufacturers
of potteryand porcelain here were
Edwards, Matthews, Adams,
Philips,
Prince, Samuel Spode, Charles
Bourne; Elkin, Knight & Co.; M.Mason.
Myatt, and William Greatbatch.
MASONS'
The Masons are the best-known CAMBRIAN-ARGIL
firm. Their so-called " Iron Stone
China "and " Cambrian-Argil " were very successful, being well
made and decorated. They also made porcelain, mostly decorated
in imitation of the Chinese. Large vases and other pieces of very
handsome decorative effect were also occasionally made by
Mason & Co. (See also Mason & Co.)
. —
236 LANE END
LANE END, Staffordshire.
At this place, which is now known as Longton, there have

been many factories, both of pottery and porcelain, some of which
are still in existence.
The following are the principal ones :
Aynslcy, John. Established to-

Aynsley wards the end of the nineteenth
century, the business is still carried
Lane End.
on plain and painted earthenware
;
and lustre ware.

Bailey & Batkin. Early nine-
Bailey & Batkin. teenth century : patentees of lustre
ware.
Mayor & Newbold, who succeeded
May'. & Neivb''. Thomas & Joseph Johnson, established
JL ^ J^. in the nineteenth century ;
porcelain
of good quality.
Harhy, T. About 1809; earthen-
ware, both painted and decorated
HARLEY. with transfer.
Cyples. Cyplcs. 1786; imitations of
Wedgwood ware.
Hilditch & Son. About 1830 ;
china manufacturers ; afterwards

Hilditch & Hopwood.
Plant, Benjamin. About 1 790 ;
white glazed earthenware and lustre

J-€(/ne cm^c/ ware.
Turner. Originally Bankcs & Turner, established about 1756,

at Stoke. Turner removed to Lane End in 1762 he made various;
kinds of earthenware, and imitated

TURNER. Wedgwood's productions with very
great success. Many of his jasper
and l)asalt pieces, indeed, are considered equal to Wedgwood's.
LANE END— LA SEINIE 237
The blue ground of his jasper ware was of a different tint

from that of Wedgwood's, ver^ brilliant, but a greener blue,
and as a rule the relief cameo-work in his medallions, is not
so sharp as on those of the best Wedgwood.
His most successful effort was the celebrated cane-coloured
stoneware, which is peculiarly light, and charmingly finished with
classical subjects in relief. He obtained the satisfactory body
of thisware from a native clay which burned itself into this
light cane colour, and from it he made bulb pots, wine coolers,
jugs, services, dishes, and inkstands. There are several excellent
specimens in the Liverpool Museum (Mayer collection) and also
at South Kensington.
The firm was afterwards Turner &
Abbo/t : after Turner's
death in 1786 the works were carried on by his sons, and were
finally closed in 1803.
Chchnan & Wooley. About 1795, this firm invented a ware called
Pearl Ware, a sort of biscuit, of beautiful pp atjt waRF
quality and great durability.
A very handsome bust of Admiral Lord Duncan, marked as
above and dated 1798, is known to the author.
Note. —
A more complete list of these eighteenth-century Staf-
fordshire potters and notice of their work and marks will be found
in the latest edition of Chaffers, revised by the author in 191 1.
Langres (see Aprey).
LA ROCHELLE.
This mark is attributed by Herr Jannike to
J.
Briqueville, a potter established here about 1743. J.B
LA SEINIE, Haute Vienne, France.
A porcelain factory was established in 1774, in the Chateau

of La Seinie near St. Yriex-la-Perche, and M. de
Chavagnac gives us some information as to the
concessions which were sought by its founders,
^^jCS
never achieved much success, and it is probable that
the specimens we see marked as in the margin were
made at La Seinie but decorated elsewhere. The
factory changed hands about the time of the First
Empire, and passed into the ownership of a Paris firm. In the
238 LA TOUR D'AIGUES— LEEDS
Franks collection is a cup, painted with a landscape in the style
of Hochst (see Mayence). Mr. H. E. B. Harrison also has a
specimen.
LA TOUR D'AIGUES, Avignon, France.

A factory of faience was started here before 1773 ;
it ceased
in 1793. Some of the pieces were
inscribed " Fait a la Tour dAigues."
Porcelain was also made here.
Lauraguais (see Brancas-Lauraguais).
LEEDS.
We have no sufficient evidence to show when pottery was
first made at Leeds, though it may be affirmed with certainty
that, at a very early date, the beds of white clay existing in its
neighbourhood were used for the purposes of the potter's art.
The year 1760, however, is the first reliable date we have for the
establishment of a factory which afterwards grew to be a large
concern. The firm was Humble, Green & Co., with varying
partnerships, the firm in 1783 being styled Hartley, Greens & Co.,
their speciality being the cream-coloured ware. The business
is still in existence, doing a large export trade.
The earlier specimens were of a character similar to Wedg-

wood's Queen's ware (see WedGWOOD), but of a yellower tint,
and of the basket pattern this pattern was used in thin trays
;
and fruit-baskets, and was well suited to this kind of pottery.

Many of the designs also are very similar to Wedgwood's, and this
suggests a strong probability that his patterns were laid under
contribution. Basket-pattern dishes, table centre-pieces, figures,
candelabra, candlesticks, and shaped fruit-dishes were largely
produced by Hartley, Greens & Co., the best period of work being
from about 1780 to 1790. Some of the old candlesticks are
particularly chaste and pure in design —
the rams' heads and
wreaths of the Adams & Flaxman's time being very prevalent, and
the reliefs sharp and clear. The business appears to have
deteriorated about 1820, and after being thrown into the Court of
Chancery, was taken over by Samuel Wright & Co. and carried on
by them for a few years. After 1832 we find the concern being
conducted by the Leeds Pottery Company, and later, in 1850, the
LEEDS 239
proprietors were Warburton, Britten & Co., afterwards Richard

Britton & Besides the cre'am ware similar to Wedgwood's
Sons.
" Queen's ware " already mentioned, we find in Leeds pottery
made at the end of the eighteenth century, several other descrip-
tions, some of which it is impossible to be sure of correctly attri-
buting unless they aie marked. Among these are black basalts,
like Wedgwood's, willow-pattern printed ware, figures and
Leeds Ware Dish, cream coloured (formerly in the Jermyn Street Museum)
occasionally groups closely resembling the Staffordshire produc-

tions, but nearly always well modelled marbled and agate ware
;
similar to Whieldon's, and some other varieties. Specimens of old

Leeds ware are not expensive, and the better ones are desirable
from an artistic point of view. The glaze of the best period of
the factory was very fine, but, being produced by a preparation
containing a large amount of arsenic, was very injurious to the
workmen. This poisonous method has long been discontinued.
Printing by transfer was introduced between 1780 and 1790, and
occasionally some lustrous pigments were used, but these lustre-
240 LEEDS— LENZBURG
ware specimens are very rare. The following marks are generally
impressed. The City Art Gallery at Leeds contains a good
collection of the local pottery, and also a great many of the
bas-relief moulds formerly in use at the factory.
GREEN, <
^
^^V
LEEDS.
Leeds Pottery. V \.yp
Hartley, Greens,
LEEDS POTTERY.
& Co.
"<
CG
W CG
Mrs. A. R. Macdonald has a small plate of the cream-coloured
AW
^^^*=^f<^ Leeds ware, with transfer decoration marked in
black.
Lefebvre, Potter (see Paris).
LE MONTET, Saone et Loire, France.
A modern manufactory of white stone-

ware. Specimens were exhibited at recent
Paris Exhibitions.
Le Nove (see Bassano).
LENZBURG, Switzerland.
This mark is assigned to the pottery made
here, on the authority of Sir Henry Angst,
X'"^^
J^ , Brilisii Consul in Ziirich, and a well-known
collector of Swiss ceramics.

LILLE 241
LILLE, Dept. du Nord.

A manufactory is said to liave been established here as
early as 171 1, by Barthelemy Dorez, and Pierre Pelissier, his
nephew ; and Mr. Chaffers tells us that a concession was granted
to them, giving some privileges. The specimens produced appear
to have been so much like those of the St. Cloud factory, both
in the soft paste and peculiar decoration, that the identity of
this factory has been confused. The undertaking ceased about
1730.
The marks given below, generally in blue, are, on the authority
of Cte. de Chavagnac et Mis de Grollier, the initials being those of
Lille,Dorez, and the monogram that of the brothers Francois and
Barth61emy Dorez, or else of Franyois Boussement, who is also
believed to have made porcelain at Lille. Specimens which can
be identified as true Lille soft porcelain are extremely rare, and
generally consist of small toilet pots or little cups.
Later, however, in 1784—85, a porcelain factory (hard paste)

was established by Sieur Lepene, in which the Minister, M. de
Calonne, took an active mterest. Lepene obtained a patent for
the use of coal in the firing process, and this is said to have been
the first introduction of coal as fuel into France. The factory,
however, had a short life, as it changed hands in 1792, and was
soon afterwards closed.
The mark, a crowned dolphin, is an especially rare one, on
account of the few specimens turned out by the factory. It is
generally either painted or stencilled in red.
The mark in the margin is used on Jact pa.r

modern porcelain made here.
t/
—
242 LILLE— LIMBACH

Pottery was made at Lille in the seventeenth century by
Jacques Feburier and Jean Bossu and later by Boussemart,
;
Dorez, and Pelissier. There were several other factories, but

those mentioned are the mo?t important. These are all marks
used by Boussemart
LILLE
1161.
^^m
LIMBACH, Saxe-Meiningen.
This factory, the most important of the Thuringian group, was
one of five which were under the direction of Gotthelf Greiner,
who enjoyed the patronage and protection of Duke Anthony
Ulrich. The works at Limbach were established in 176 1, and
became so prosperous that Greiner purchased the manufactories
of Grosbreitenbach and subsequently of Volkstedt and Kloster
Veilsdorf. Excellent figure work was turned out at this factory ;
the modelling is rather stiff, but the decoration is carefully

executed, and figures and groups of soldiers, peasants, musicians,
and others, are very correctly costumed and finished. In the
Weimar Museum are two figures made at Limbach measuring
nearly 3 feet in height, which was a very unusual production
for a china factory in the eighteenth century. A painter named
Heinrich Elias Dressel worked at Limbach, and specimens are
known which bear H. D. and D., his initials. The earlier mark
is the L. B. united in different forms of monogram, and the
crossed swords were used until a threat of legal proceedings from

the Saxon Government caused the abandonment of the mark for
c ^
o
a,
m en g
o c
LIMBACH— LIMOGES 243
a trefoil, which one finds in several forms and colours. Until

recently there has been some confusion with this factory and a
supposed porcelain factory at Luxembourg {(/.v.).
L-X
^44 LIMOGES
facture roi/allo de S£imoges/' and " iPorcelaine, de Limoges/' also
the fleur-de-lys.
G R et
Established 1773.
C
Grellet.
LLANELLY— LISIEQX 245
LLANELLY POTTERY, South Wales.

A pottery was carried on here 'from 1839 to 1840 by William
Chambers for about fourteen years, more as a hobby than for
profit. The ware is not unlike the Staffordshire potters' work,
some being blue and white, and some having colouring more in
the style of Mason's ironstone. After Chambers the works were
carried on by Coombs and Holland from 1853 to 1856, and later
by W. T. Holland to 1868, and since then by Holland and Guest.
The marks are sometimes impressed South Wales Pottery,
in a circle, or the initial letters S. W. P. also ware is marked
;
with the name W. Chambers, which occurs in a circle inside

that with " South Wales Pottery." The modern work is of a
cheap and decorative character.
Previous to Mr. Chambers' time, about 1838, a Mr. Bryant,
who had formerly worked at the Glamorgan Potteries, became
manager of the Llanelly works, and Mr. Eccles of Neath, to
whom the author is indebted for these particulars of a hitherto
unnoticed pottery, had a book which contained the old contracts
with the Llanelly workmen. The book has since been presented
to the Swansea Museum liy Mr. Eccles.
maker
The mark
of
of J. Pougat, a modern
earthenware. IF
-
-'—^
LISBON
The royal factory here makes a great variety of earthenware.
The marks in the margin are given by Chaffers as those on speci-
mens presented to the Sevres Museum in
1833. The same authority mentions a fac- IT A f^ I ^ *•
tory at Cintra of statuettes with a glaze of I

-^ -^^ >J i ^^^
brown, and black.
different colours, green,
, ,
. XLK. Century.
but he gives no mark. There is also a
maker of modern Palissy ware at a place called Caldas in Portugal.
Porcelain was also made here in the last century, and oval
medallion portraits in imitation of Wedgwood's blue and white
jasper ware. Specimens are in the Schreiber and Franks
collections.
LISIEUX, NormAxNDY.
*
Pottery was made here in the sixteenth century, and
also atManerbe, a place in the vicinity. Herr Jiinnike
and Dr. Graesse give this mark.
>46 LIVERPOOL
LIVERPOOL.
There was a group of potteries at Liverpool early in the
eighteenth century, some more successful than others, but pro-
ducing a similar kind much
of white or cream-coloured ware,
akin to Leeds ware or the kind of pottery made by Wedgwood
and known as Queen's ware (see Wedgwood). Alderman Shaw
and Seth Pennington were two of the best-known makers of
Bowl of Liverpool Dellt (British Museum).
punch-bowls, and as it was the fashion in those days to drink

success to a voyage in that convivial concoction, we frequently
find Liverpool ware bowls decorated in the inside with a portrait
of the ship and sometimes a date and inscription. The earliest
dated specimen ascribed to Liverpool is the oblong slab in the
Liverpool Museum, with a view of the village of Great Crosby,
bearing date 1716.
In the Hanley Museum is preserved an important bowl,
inscribed " Success to the Africa Trade," of which we give an
LIVERPOOL 247
illustration. It measures 20-| inches diameter and is 9 inches

high, and was painted by John Robinson, who after he removed
from Liverpool to Staffordshire, presented it to the Mechanics'
Institute. bears a label, with an inscription, which is interesting
It
as connected with Seth Pennington. "John Robinson, a pot

painter, served his time at Pennington's in Shaw's Brow, and
there painted this Bowl."
Mr. William Burton, whose work on English Pottery was pub-
Liverpool Ware Bowl painted by John Robertson (Hanley Museum)
lished while this book was under revision for the second edition
(May 1904), gives many illustrations of bowls and tiles of this ware,
and Mr. Joseph Mayer's History of the Art of Potlciy in Liverpool,
published in 1855, is a useful work of reference. The work of
Richard Chaffers, which has already been mentioned in Chapter III.,
commenced in 1752 and continued until his death in 1765, and
he appears to have made in Liverpool different kinds of porce-
lain (as distinct from pottery) of an experimental character.
The next potter of note was John Sadler, an engraver, who
248 LIVERPOOL
invented the process of transfer-printing on pottery and porce-
lain in 17=52. He is said to have discovered tiie art accidentally
by noticing that some children, to whom he had given several
spoiled impressions of his engraved plates, applied them to
broken pieces of pottery and secured a transfer. Sadler com-
municated the idea to Guy Green, and the two entered into
partnership, and applied for a patent to protect the invention ;
the intention of patenting was, however, never carried out. The

process soon became common to other factories, although in many
cases, notably in that of Wedgwood, the undecorated ware was
sent to Sadler & Green to print. Pieces are very rarely marked,
but some of the tiles, i which are frequently decorated with copies
of engravings from Bc/i's Bri/ish Theatre (1776), portrait figures
of actors and actresses, scenes from ^sop's Fables and from plays,
bear the signature " J. Sadler, Liverpool," and in the Victoria and
Albert Museum is a tea-pot with a portrait of Wesley, signed
"Green, Liverpool." The best collection of Liverpool ware was
in the Liverpool Museum, and good specimens may be seen in
the Schreiber collection.
Mark: SADLER & GREEN.

The Herculaneum Pottery was established by Richard
Abbey about 1790. The works, after passing through various
hands, were closed in 1841. Several other kinds of pottery were
made here. There are some specimens in the British Museum.
CHRISTIAN.
Kstublislied 1760.
LODI— LONGPORT 249
PENNINGTON.
The name :in(l initials of Pennini,'t(in
sometimes are found on Imwls decorated by
him. Mis favourite subjeels were ships, and
sucli mottoes as ".Success to the Moiinioulh,
1750," remind us of an old custom ol a punch-
Ceased 1S36. bowl in lionour of the occasion of a new
voyatje.
P *•
Established 1760.
SHAW.
Established about 17 10.
17 6g.
SADLER Established 1752.
In 1756 he obtained .Soap Rock from
1756- Cornwall; died 1765.
LODI, LOMBARDY.
Faience was made here in the seventeenth and eighteenth
centuries. Unless marked it has nothing to distinguish it from
other Italian faiences.
f\
Loffi lY^^
M M
LONGPORT, Staffordshire.
Like most of the towns in the Potteries, Longport had, and
has, many factories, both of earthenware and porcelain.
One of the earliest known was that of Mr. Phillips, which
was started about 1760. He made stoneware, plttt t jpc
salt glaze, and cream ware. The firm con- , r^^rr-r.i^n^-
tmuedJ
-1Q
1829,
until and lilt
A possibly later.
LONGPORT.
Another eighteenth-century firm was that of
Messrs. John & George Rogers. They made D
various glazed and cream-coloured wares, and l^
also imitated several of Wedgwood's specialities,
but not very successfully. Their mark was the ROGERS
250 LONGTON HALL
name Rogers, stamped in the clay. On their ironstone china
they added the chemical symbol for iron, as shown above.

The best-known firm in this district has been treated separately
(see Davenport).
LONGTON HALL, Staffordshire.
One of the earliest successful experimenters in the manufacture

of porcelain was William Littler. He and Aaron Wedgwood,
, y- his brother-in-law, started business about
Y/"
S^y '^W ^.-/\/ 1752; their output consisted principally of
table services, punch-bowls, leaf-shaped des-
0>^ and plates, &c. The mark, which

sert dishes
been identified by Mr. Nightingale, is
[has
probably intended for two L's crossed, one
reversed, standing for Littler, Longton Hall.
The first three shown in the margin are from specimens in the
Franks collection the fourth is from the Countess of Hopetoun's,
;
and the fifth from the Schreiber collection in the Victoria and
Albert Museum. In the British Museum there is a cup and
saucer, with a bird on a sprig in a white-shaped panel, which has
for mark a " " in blue.
J
As a rule the decoration of Longton Hall china resembles
that of the earlier Bow and
Chelsea productions, but a peculiarity
is the singular blue colour which we find as a ground-colour in
ornament on the
the vases, and in the figures the peculiar scroll
one finds
bases, while encrusted flowers are of a larger size than
in either Chelsea or Bow. From the scarcity of Longton Hall
compared with Chelsea, Bow, and Derby porcelain, the prices are
higher than its artistic merit would sometimes seem to warrant,
but occasionally we find exceptional specimens that are equal in
qualify to the best Worcester, while possessing peculiar character-
isticsthat enable us at once to identify them with the Longton
Hall factory, although, as is frequently the case, they bear no mark.
The illustration in the text is of one of a pair of vases of the
ordinary quality of Longton Hall, rather coarsely moulded and
effectively though somewhat carelessly painted. The two full-
page illustiations are of vases of the finer quality. The pair
painted in on one side, and birds on the other, have
figures
a rather darker tilue ground colour than is usual with this
factory. The set of five illustrated are among the finest
specimens of their kind, and they were amongst the most valu-
•a
u i;
V, V
^
LONGTON HALL 251
able and rare vases in Mr. Alfred Trapnell's carefully formed

collection, which was dispersed under Christie's hammer in
July 1899.
The factory is believed to have been carried on in the old-
fashioned country house where Littler lived (" Longton Hall "),
and when this undertaking came to an end, Littler became
manager to Baddeley & Fletcher of Shelton he lived to an
:
old age and died in extreme poverty. Messrs. Rhead, in their
Longton Hall Vase, scrolls and flowers (Professor Church's collection).
work on Staffordshire Potters, quote an interesting label attached

to a tea-pot which is Hanley Museum. It was given by
in the
William Fletcher to Enoch Wood, and the writing is that of the
latter as follows " 1807 (date).
: He informs me, he remembers
it being made by Mr. William Littler at Longton near Stoke about
53 years ago, say in the year 1754, and it has never been out of
his possession during that time and is highly valued."
A singular mark given in the margin is on the two smaller
vases, and in default of any other explanation of this initial the
author is inclined to agree with other experts in thinking that it
2 52 LONGTON HALL— LOWESTOFT
is the initial letter of the artist who painted them. A fine pair of
from Mr. Trapnell's
A
large beakers, also collection,
have a similar mark, but the letter A ditfers slightly
in form.
This same letter A is also occasionally seen on
Bow figures. The author knows of one with this
mark in Lady Hughes' and another in that of Mr. H.

collection,
Manfield, from which would appear that this artist, who worked
it
at Longton Hall, was also for some time employed at Bow.

In this connection, too, one may record the existence of four
plates painted by the same hand with the peculiar e.xotic birds
of paradise made at four different factories, Longton Hall, Bow,
Bristol, and Worcester. The Bristol plate is in Mr. Trapnell's
collection, and the other three in that of Mr. Robert Drane of
Cardiff. These specimens are evidence of the migratory habits of
the craftsmen who worked at some of the old English factories.
A mug with blue decoration in the collection of Mr. Thomas
Boynton, F.S.A., has a curious mark like the one in
11 \ f the margin, which Mr. Boynton reads Littler, Longton

^T Hall.
In the same collection there is a shaped dish with
vine leaves bearing a mark in imitation of Chinese writing similar
to one we find on old Chinese porcelain.
Perhaps the largest pair of Longton Hall vases are those at
Burghley House, which measure nearly i foot 8 inches
C in height, and which, until the author's visit in 1910,
T" had been catalogued as Chelsea.
I
The very unusual mark of an anchor in brown, is
^ I
P
on the figure of an actor in Mr. Harman Young's col-
^^•'^ lection, and was formerly in Mr. Bemrose's collection.
LOOSDRECHT (see Amstel).
LOWESTOFT.
A small manufactory was established close to Lowestoft by
Mr. Hewlin Luson, of Gunton Hall, who, being interested in the
manufacture of china, and having discovered on his estate a
quantity of white earth, that appeared likely to repay experiment,
sent a sample to be analysed, and on receipt of a satisfactory
report, engaged workmen from London and erected a kiln and
756. We have Gillingwater's
c^ -S .2
ft-
- *",
LOWESTOFT 253
authority for the fact that, owing to the jealousy of the London
manufacturers, his workmen were bribed to spoil his productions,
and the first step in ceramic art at Lowestoft was seriously
jeopardised by this ungenerous trick ; but the attempt was again
made and the new firm of potters. Walker,
in the following year,
Browne, Aldred, & Richman, succeeded in establishing a fact(jry
of considerable importance. This fact is testified by Gillingwater,
who wrote his History of Loivestoft in
1790.
Onaccount of the considerable trade between the eastern
coast and Holland, it is more than probable that the first Dutch
importations, both of the native delft and of the Oriental porcelain,
gave the impetus to, and furnished the models for, porcelain
making at Lowestoft and there is a certain amount of Oriental
;
character about some of the Lowestoft pottery and porcelain

which confirms this view.
Porcelain does not appear to have been made at Lowestoft
previous to 1762, and dated specimens are extant bearing that and
subsequent dates.
Mr. Jewitt tells us that Robert Browne, one of the partners
of the firm that succeeded Mr. Luson, visited the Bow or
Chelsea factory disguised as a workman, and was engaged. He
bribed the warehouseman to conceal him in an empty hogshead,
that he might be present when one of the principals mixed the
ingredients for the paste, a process which was, of course, a
much valued secret, and he returned, after a short absence, to
his Lowestoft factory with much valuable information gained by
means of this device.
The Lowestoft works were closed in 1803-1804, owing,
it is said, partly to the severe competition of the Staffordshire
potters and partly to trade losses, one of which was due to the
seizure by Napoleon, in Holland, of several thousand pounds
worth of their merchandise. The difficulty of transport of coal
and sand had also caused the company to work at a disadvan-
tage, compared with other factories.
The best-known collection of Lowestoft china was that formed
by Mr. William Rix Seago, a gentleman living in the neighbour-
hood, who, many years ago, purchased from Robert Browne, the
great-grandson of one of the original partners of the factory
already alluded to, a number of specimens which had descended
to him. A sale of Mr. Seago's collection took place in 1873, but
some hundred and sixty specimens were reserved and bought
in, and a few years since these were purchased by Mr. Frederick
254 LOWESTOFT
Arthur Crisp, of Denmark Hill, together with an affidavit, duly
attested by the said Robert Browne, that he had identified these
specimens as those which were formerly in his father's possession.
The paste and decoration of many of these pieces were very unlike
what we had been accustomed to recognise as Lowestoft, and have
much more the appearance of old Bow or Worcester. The
initials and dates of the persons for whom the services or pieces
were made, and such representations of local buildings as that of

Lowestoft Church, together with the circumstances under which Mr.
Seago acquired them, lead us to think that about the time 1762—
1790 the Lowestoft potters must have copied the decoration of
the earlier Bow and Worcester specimens. The Robert Browne
Ink-pot, a quaint nine-sided little vessel with blue and white
decoration, and the initials R. B. and date " 1762," is a peculiar

instance of this ; and it is a very interesting relic from the fact
of its always having been known as Robert Browne's ink-pot.
Of these little Lowestoft ink-pots, of which the reader can form

an opinion from the illustration which, by Mr. Crisp's courtesy,
we are able to give, there are some seven or eight known to the
author. One was in the Jermyn Street Museum, and has upon
it "A present from Lowestoft" six are in Mr. Crisp's collection,
;
two ofwhich have a similar inscription, and one has underneath

the initials S. A. of Samuel Aldred, father of one of the founders,
Obed Aldred, and the date Sept. 26, 1762, and another is the
Robert Browne Ink-pot already mentioned, which will be found
on the right of our full-page illustration. Other specimens
have the initials and dates of persons known to have lived in
the neighbourhood of Lowestoft. These dates run from 1762
to 1799, three or four years before the break-up of the factory.
Several mugs are known on which is inscribed " A present from
Lowestoft," and Mr. Louis Huth had a small trinket-stand with
the arms of Yarmouth, and the inscription " A trifle from Yar-
mouth."
A speciality of the Lowestoft factorywas the manufacture of
birthday plates or medallions. These are circular discs of about
two inches in diameter, the obverse inscribed with the name and
date of the birth of the person for whom the " plate " was made,
such as "John Gaul, born April 22, 1793 "; the reverse of the
disc was decorated with a flower. Three of these interesting
little ceramic souvenirs are illustrated in colours in Mr. W. W. R.
Spelman's Loivcsio/t China.

With regard to Lowestoft china there has always been con-
LOWESTOFT 255
siderable difference of opinion. The late Sir Wollaston Franks

considered that what is termed- " Lowestoft " is really Oriental
porcelain decorated in England, and Professor Chiuxh, in his
work on English Ceramics, omits mention of Lowestoft altogether ;
while Mr. Chaffers has, we think, attributed to it an importance

which it does not merit. In the later editions of Chaffers, the
author has given at some length his views upon this difference of
opinion. It is more than probable that the greater part of what
—
we call armorial china that is, china decorated with crests and
monograms, and coats of arms of English families was made to —
order in China, from sketches sent out from this country towards
the end of the eighteenth century, and many such services were
ordered by officers of the English East India Company this;
view is confirmed by letters and documents which are in existence

showing that the china was originally brought to this country
from the East. In other cases Oriental china, undecorated, has
been painted and refired both in Holland and in England. Mr.
Chaffers repudiates this idea on behalf of the Lowestoft factory,
but it was certainly done elsewhere.
In forming an opinion as to the genuineness of Lowestoft
china we must be guided by two or three points. The Lowestoft
paste is soft, and not hard as is the Chinese. The better class of
work resembles that of Worcester, while the common ware has the
appearance of inferior Bow of the soft paste description. Some
pieces are thick and opaque, others are very translucent. The
glaze has a blue tinge and has run into crevices, and we find as a
rule that it has run over the bottoms of pieces such as jugs, tea-
pots and bowls, covering the rims and flanges. These rims on
the bottoms show crude and unskilful potting, in the majority of
cases being misshapen. There are, however, some exceptions to
this in the case of the better finished specimens. The character
of the decorations, too, will help us to decide as to whether a
piece be Lowestoft or not.
Three full-page illustrations are given which should assist the
reader to form an idea as to the appearance of genuine Lowestoft
china ;one of these is that of five specimens with names and
dates, inMr. Crisp's collection the second is that of three tea-pots,
;
reproduced in facsiuiik as to colour, from Mr. Spelman's book ;
while the third is from a group of the kind of Oriental china which
we have mentioned above as being erroneously described as
Lowestoft —so much so, that one has frequently heard the expres-
sion " Lowestoft Oriental " to designate this kind of ware, in which
256 LOWESTOFT
the colouring and kind of decoration are more of a European
than Eastern character. There are, however, some specimens
which occasionally baffle the most experienced judge. One can
say " It is certainly not Oriental ;we believe it to be English, and
it is perhaps Lowestoft." Some of these pieces difficult to
identify are those of poor quality " blue and white," bad copies
"
of the Worcester of similar description, painted with " Worcester
blue flowers on white ground, and many of them bearing a crescent
mark. They are neither Worcester, nor Caughley, nor any other
English factory which can be identified with certainty, and one is
inclined to adopt the suggestion which has been made, that these
were Lowestoft imitations of Worcester made for export to
Holland. The author well remembers the quantities of this kind
of china, then considered to be inferior Worcester, which was
sold at Jones & Benham's auction rooms in the " seventies,"
imported from Holland with Dutch marqueterie furniture, and
it is quite possible that this may have been part of the " several
thousand pounds worth of merchandise" which ChafTers mentions
as being seized by Napoleon in Holland, a disaster which was one
of the causes of the break-up of the Lowestoft factory.
Those who have the means of really judging of pastes and
compositions of porcelain agree in the main with the author's
views on Lowestoft, and Mr. William Burton, whose valuable
work on English china was published in 1902, while confirming
these in all material respects, adds some facts of interest. "The
firm of Robert Browne & Co. set up in 1770 a warehouse in
London known as the Lowestoft China Warehouse at 4 Great
'
'
St. Thomas the Apostle, Queen Street, Cheapside, where they

seem to have carried on the production of a common artificial
porcelain, apparently composed of pipeclay and glass, until the
growing competition of the cheaper bone porcelain made in
Staffordshire, crippled their trade, and caused the partners, who
were advanced in years, to abandon the undertaking." Mr. Burton
goes on to say, " Fortunately, we have quite a number of pieces
bearing names, dates, and inscriptions which prove the nature
and style of the real Lowestoft production."
The Lowestoft factory was comparatively unimportant, as we
know from the remains of the old buildings, and also from recent
excavations which have brought to light some moulds of consider-
able value for identifying some of the specimens which have
hitherto been ascribed to Worcester. Mr. F. A. Crisp, in whose
possession some of these relics are, has presented plaster casts of
LOWESTOFT 257
them to the British Museum, where they occupy a small table

case in the English china room. The British Museum collection
also includes a saucer dish of powder blue with panels of views
of Lowestoft Church, the Beacon, &c., which is very similar in
decoration to some early Worcester in the Chinese style, except
that the local views and some other points of difference from the
Worcester china, decide the origin of that and some other
Worcester-like pieces. Some of the mugs in the Museum have
inscriptions and dates 1780 and 1781, and the tea-pot which
was formerly in Mr. Merton Thorn's collection has been identi-
fied by some of the moulds alluded to above it is dated
; 1761
and inscribed L H. It will be observed that this date is one
year previous to that generally accepted as the commencement

of china-making at Lowestoft.
Since the excavations made in 1902, fresh diggings in the
neighbourhood during the following year, resulted in the finding
of more Lowestoft relics, including knife handles, arms of figures,
birthday tablets, and other pieces, which were purchased by
Mr. A. Merrington Smith, of Lowestoft. Part of the trouvaille,
consisting of portions of moulds, fragments of china such as
handles, covers, chipped and broken saucers, cups, sauceboats,
milk-pots, tea-pots and other articles, several of them bearing marks
such as the crescent, crossed swords, and numerals, passed into
the possession of Mr. W. W. R. Spelman of Norwich, to whom
we are all much indebted for his research and contribution to
our knowledge of the factory. He published a book entitled
Lowestoft China in 1905, and the illustrations of this volume
include some excellent facsimile coloured plates of authenticated
specimens and numerous reproductions of photographs taken
on the site of the excavations. These show the buildings of the
factory, the moulds, and many portions of decorations such as
fragments of borders of cups and saucers, a well-painted dragon
design, and much invaluable evidence of identification. Mr.
Spelman is firmly convinced that only soft-paste porcelain was
produced at the Lowestoft factory, and he has produced some
proof of this by publishing the chemical analysis of a lump of
china clay mixed ready for use, which was found among the
debris. He considers that the finding of two " biscuit " arms of
"
figures resembling those of the well-known Chelsea " boys
establishes the fact of their having made figures, and he includes
in his illustrations many figures which he attributes to Lowestoft.
These figures in modelling and colouring resemble Stafford-
R
258 LOWESTOFT
shire pottery, but they are of porcelain, i.e. translucent and not
opaque, as are the Staffordshire ware figures. To the author the
evidence of figure-making at Lowestoft is not quite conclusive,
and the translucent figures referred to may belong to some
other factories. Mr. Spelman formed a considerable collection
of Lowestoft which is now in the possession of Mrs. Colman of
Norwich, and the author has not had an opportunity of inspecting
the figures in this collection. Mr. Edmund Francis Broderip of
Weston-super-Mare has collected a great many specimens of
Lowestoft Ii^rrel-shnped Tea-pot in the collection oi Mr. E. F. Broderip.
this interesting factory, including several marked with numbers

from 1 and some of these marks arc reproduced in fac-
to 60,
simile at the end of this notice. Mr. Spelman mentions that
the highest number he had found on Lowestoft was 52. Mr.
Broderip's specimens are chiefly portions of table services such
as tea-pots, milk-pots, tea caddies, jugs, cups and saucers, leaf-
formed trays, bowls, and mugs. Tiie decoration is very in-
differently done in blue, on the rather bluish-white ground which
we find given by the Lowestoft glaze, and which, as before
mentioned, is similar to (he soft paste Bow or Worcester of the
same time. That articles of very superior quality and finish were
also produced at Lowestoft we have ample evidence not only
O 3
C —
Z
02
<
:k
LOWESTOFT !59
in the good specimens illustrated and described in Spelman's

hook, from which we have borrowed one of the most represen-
tative, but also from examples in many public and private collec-
]
'« ^vx</i
Adam 111 J oinU',
^f^ 10 abide, the icôbttW 0\^
§»A^ ^"'C. JVC lncvc-.i^^"î'
map I '"-, ' ^
H. Jenkins Lowestoft.
Lowestoft Coffee-pot in the collection of Mr. J. U. Vallop.
tions. The barrel-shaped tea-pot, with flowers well painted and

partly modelled in slight relief, which is illustrated from Mr.
Broderip's collection, is a good example.
The coffee-pot illustrated is a piece of much interest, and was
in the collection of Mr. J.

U. Yallop, of the Bridge, Lowestoft ;
:
26o LOWESTOFT
and while the second edition of this work was in the press the
author received from Mr. Yallop some notes on specimens re-
cently found as the result of excavations on the site of the old
factory, and on those purchased from families of long residence
in the neighbourhood. These notes confirm the author's opinion,
already expressed, with regard to the crude and simple form of
the decoration and also of the rather rough and unfinished char-
acter of the porcelain itself. He mentions, that as regards numerals
found on specimens, they run from i to 31, the latter being the
highest that he has seen. The
initials found are the following
H. S. R. Z. W. R.P., and are
supposed to stand for Hughes,
/(•^
Stevenson, Redgrave (Z and W
unknown), and Richard Philips.
The latter name, Philips, occurs
in full under the handle of a mug.
The numbers are generally un-
derneath, inside the rim of a
piece. The dates on specimens
run from 1760 to 1796. A ser-
vice, bearing a crescent mark,
and having for decoration blue
zigzag compartments of roughly
^^ painted salmon scale, alternated
Y ^V ^ with white, which, on account of

''^ Mm-^î^ ^'^'^ mark, had been attributed to
Caughley or Worcester, is now

attributed to Lowestoft, owing to
Coffee-pot of Lowestoft service, blue spiral
decoration marked with crescent. Mr.
portions of cups and saucers
K. F. Broderip's collection. having been fouiul in the ex-
cavations already alluded to.
Mr. Brodcrip has the coffee-pot (illustrated), and Mr. Crisp has a
great many pieces of this service.
Other marks, which are probably those of workmen employed
at the factory, closely resemble those of the workmen's marks
found on similar blue and white Worcester specimens. Indeed
the character of the real Lowestoft, and that of the cruder pieces
of early blue and white Worcester or Caughley, are so alike that
it must be impossible to avoid confusion among the products of
these three factories in collections.
A Oask, which bears the name of John Hutcher with dale 1790,
LOWESTOFT 261
is illustrated ; the name has been identified in the register of the

parish church of St. Margaret's, Lowestoft.
These specimens are, however, entirely different from the two
kinds of china which have hitherto obtained a general recognition
as Lowestoft. One of these is the Oriental porcelain with Eng-
lish and foreign coats of arms, which has already been alluded to,
and the other is the so-called " Lowes-

toft " china made in Paris and largely
sold.
The work
X JLT
Robert Allen in con- workmen's marks on Lowestoft speci-
of
nection with Lowestoft china deserves mens in Mr. Vaiiup's collection,
special mention. Mr. Spelman tells

us that he joined the factory in
1757 at twelve years of age and
subsequently became manager.
When the business closed he took
a shop in the High Street, where
he set up a gloss kiln and painted
and fired china articles which he
procured from Rockingham and
other places. That he also de-
corated Oriental china we know
from the tea-pot painted with
the Crucifi.xion signed " Robert
Allen," which is in the Schreiber
collection. He also painted gra-
tuitously the eastwindow in St.
Margaret's Church. The Rev.
W. ,17
W. ,, ,1 u TLowestoft
Hallam, an old i a Lowcslutl Mask in
collection.
Mr. \allops
resident, to whom the author is

indebted for information about Allen and other Lowestoft painters,
has a plate of his decoration bearing his initials and date, 1832,
on the back. Allen died in 1835 at the age of ninety-one.
Mr. Hallam adds that for some years after the factory had
closed such articles as ink-pots and mugs bearing the inscription
" A trifie from Lowestoft" were sold at a shop in Crown Street,
which was then called Bell Lane but whether Allen had any
;
pecuniary interest in this shop, he does not know. Spelman says

that he carried on the business of stationer and china dealer,
but the addressis not the same.
Marks. —
With regard to the marks on Lowestoft china, the
author agrees with Mr. Spelman and with others who have
—
26: LOWESTOFT— LUDWIGSBURG

devoted special attention to this factory, that there was no re-
cognised fabriqiic mark. The crescent, the crossed swords, and
the numerals from i to 60 appear on many specimens. These
numerals are as a rule very badly formed, and occur in many
cases inside the rim at the bottom of the article. During the
excavations there were found some pieces bearing imitations of
Oriental marks in Chinese characters, such as one finds occasion-
ally on Worcester china. The following are taken from speci-
mens in various private collections, including those of Mr. E.
Broderip and Mr. E. Sheldon, also from Mr. Spelman's book :
5' c
This mark is claimed by dif- These numerals are gene- ,
This crescent is found
ferent authorities as that of rally inside the rim at i
both open and closed,
Lowestoft and of Bow. bottom of specimen. j
,-)
'^^> V / f 6 T
AT^ /90
Said to be the mark
of Robert Allen.
% iy 1 -^
(This mark is also claimed
for Longton Hall.)
LUDWIGSBURG, LOUISBURG, OR KRONENBURG,

WiJRTEMBERG.
Ringler established a porcelain manufactory at Ludvvigsburg in
1758, under the patronage of Charles Eugene, the reigning Duke;
but, owing to the site being unwisely chosen, the clay and fuel
had to be brought great distances, and the enterprise was carried
on under difficulties and at pecuniary loss.
Specimens of this factory are remarkable for beauty of
modelling in groups and figures, and also for fine paintings on
services. The paste is, however, of a rather coarse and greyish
LUDWIGSBURG— LUNEVILLE 263
appearance. It is as often called Kronenburg as Ludvvigsburg,

which Marryat explains by -telling us that the town where
fact
the factory existed was known by either name.
Some of the best single figures and groups produced at this
factory were designed by J. C. W. Beyer of Gotha and Franz
Aston Pustelli, and the several specimens which are in the Franks
collection should be carefully examined, so that the amateur may
appreciate the peculiarities of the genuine old Ludwigsburg
modelling, finish, and colouring, and avoid the imitations which
have lately been put on the market. Good specimens, especially
the groups and figures of this factory, have enormously increased
in value of late years. Pairs of small figures of peasants some
5 or 6 inches high, which ten years ago brought -^10 or £12, are
now realising ^^25 or £2,0.
The earlier mark was the C in reversed cyphers, but later
surmounted by the ducal crown.
The letters under the crown were changed to T. R. in 1806
and to W. R. in 1818.
Occasionally the arms of Wiirtemberg, three stag horns,
were used as a mark, with or without the letter L and at a later
;
period, a single horn.
^^^
^ j:
^
x\t
^ X.
^ Wi
LUNEVILLE, Meurthe, France.
Faience was made here by Jacques Chambrette in 1732. In
1778, the works were sold to Messrs. Keller & y 9- r
Gu^rin, and are still carried on by the de- , ttimVvIT
T F
scendants of the former. The earlier ware
resembled that of Nevers and Strasbourg (tj.v.). Chambrette
also madeporcelain.
small porcelain factory was established at Luneville by a
A
sculptor, Paul Louis Cyffle, in 1769, when he obtained a royalty
"
264 LUNEVILLE— LUSTRED WARE

for fifteen years, and produced some superior vessels of a material
known as terre de Lorraine. By means of a subsequent improve-
ment he produced a pate more suitable for statues and groups,
and some of these have been preserved, such as the statue of
TERRE DE
LORRAIME
iefrpiyiQ
Stanislas, in the Imperial Library of Nancy. The mark is his

surname and " a Luneville "
stamped underneath, but it is very
rarely found. Pieces marked " TERRE DE LORRAINE " were also
made here, the name being a compliment to Cyffle's patron,
Stanislas, Duke of Lorraine. There appears to be some con-
fusion between this factory and that of Niderviller, the same
modellers having signed specimens at both places. After the
sale of the Luneville factory in 1780 the models and plant
became the property of Niderviller.
Lupo, Monte (see Majolica).
LUSTRED WARE.
A good deal of attention has been paid during the past few
years to the lustred pottery of the eighteenth-century English
makers.
Hispano-Moresco lustred ware, and also
In the remarks about
in the notices on some majolica which was
of the early Italian
painted in lustred pigment, it has been shown that this kind of
decoration has always been in favour it may, however, be noted
;
that the English potters used lustred colours as a ground, rather

than to heighten the effect of a decoration as did the makers of
the older majolica.
English lustred pottery consists of four or five kinds — silver,
gold, copper, steel, and resist lustre. The first four are wares
coloured in such a way as to represent the metals named. The
last isdecorated with a pattern in lustre (generally silver), which
has tiie appearance of being stencilled on a plain white ground.
The process in this case was to treat with a chemical wash that
part of the surface which was to remain white, so that the
solution into which the article was dipped would only " take
LUSTRED WARE 265
upon the portions intended to be decorated. The result is a

very pleasing decorative eiTect.
A potter named Richard Erank of Brislington, who was
connected with the early stages of the manufacture of Bristol
delft, is said to have been the first to produce copper lustre, and
Dr. Simeon Shaw in Chcuiistry of Pottery mentions as early
" lustrers " John Hancock, John Gardner and William Hennys.
The same authority states that in 1810 Peter Warburton took
out a patent for his " new invented method of decorating china,
porcelain, earthenware, and glass, with native pure or adulterated
gold, silver, platinum or other metals, fluxed or lowered with
lead or any other substance, which invention leaves the metals
after being burnt in their metallic state." This patent protected
his process for fourteen years, and therefore we are probably
correct in assuming that most of the lustred pottery which was
produced in Staffordshire, Liverpool, Sunderland, Longton,
Swansea, and other places, was of a date subsequent to the lapse
of Warburton's patent.
The silver lustred tea and coffee sets so closely resemble
either the silver or the old Sheflield plated services of the period
that, without handling, they may
be readily mistaken for them.
They were probably made with intention, since before the
this
invention of the cheap process of electro-plating, silver or
Sheflield plated goods would be too expensive for ordinary use.
On copper lustre one often finds part of the decoration in
bright blue flowers and foliage, while the lower part of the jugs
are ribbed ;sometimes the copper lustre is confined to bands.
One finds in some of the old Staffordshire pottery groups
and figures made by the Woods and their contemporaries, a line
of copper lustre round the base.
Josiah Wedgwood made gold and silver lustred ware; he was
one of the first potters to adopt this form of decoration, which
he also varied by marbling some of his ware with a pale pink or
purple lustre.
The specimens of English lustred ware which remain to us
are jugs, parts of tea services, cups, bowls and plates, and some-
times dessert services. The recent demand for, and advance in
price of, genuine old pottery thus decorated, has resulted in the
manufacture of modern ware in the same style. Collectors will
find these modern productions rougher to the touch than the old
pottery, which seems worn and smooth. (See also New Hall
and Neale & Co.)
266 LUXEMBOURG— MADELEY
LUXEMBOURG.
A factory was started by the brothers Boch at this place,
where it is said that porcelain was made as well as pottery but ;
this is very doubtful. catalogue of

In Sir A. W. Franks'
Continental porcelain he adds a note of interrogation under
this entry, and in the best and most recent work on French
porcelain by MM. de Chavagnac and de Grollier there is no
mention of a porcelain factory here. The fine set of four figures
representing "The Seasons," illustrated in Chaffers' Kerainic
Gallery,and described as " Luxembourg porcelain," are without
doubt " Limbach," and the mark L. B., which has been attributed
by Chaffers and other authorities to Luxembourg,
should be ascribed to Limbach (q.v.).
The mark given in the margin is that of the
modern productions of Messrs. Boch, who are pro-
prietors of the present Luxembourg factory.
IP.S'
jKHyoAT LYONS, France.
fJjS Faience was made here from the sixteenth
century, and probably earlier. Very little is known
T-YO.^ of it.
MADELEY, Salop.
We are indebted to Mr. William
Burton for the notice of this
factory,which had no mark, and the productions of which have
been generally sold as old Sevres. Mention has already been
made of an artist named Randall, who decorated some of
Mintons' earlier work in the manner of Sevres china, and the
author was unaware that he had established a factory of his own
until the publication of Mr. Burton's book. Thomas Martin
Randall was the founder of a small factory at Madeley, near
Coalport, between 1830 and 1840, and made a glassy porcelain
with some success. He had been apprenticed at the Caughley
works, and went to Derby about 1790, where he appears to have
made the acquaintance of Billingsley, whose adventurous career
somewhat resembled his own. Subsequently, he worked at Pinxton,
and then he, with another Pinxton painter, established a small
business in London for the decoration of porcelain.
it was to this of Robbins & Randall that Mortlock
firm
sent his white Nantgarw china to be decorated, and when, owing
MAJOLICA 267
to the purchase of the Nantgarw works and removal to Co.ilport

by Mr. Rose, the supply of white china failed, some of the
London dealers bought the sparsely decorated Sevres china and
sent it to Randall for " glorification " and enrichment. This
profitable but illicit "faking" of Sfevres china was rendered more
easy by reason of the sale, in 18 13, of the entire stock of un-
decorated Sevres china, from the factory, and a very considerable
trade in this redecorated Sevres was carried on. About 1840
Randall appears to have given up his Madeley venture and
removed to Staffordshire, where he continued his redecorating
and firing, though he ceased to manufacture. Randall lived to
be a centenarian, and his daughter, Mrs. Brightling of Carshalton,
has some vases painted in bird subjects signed by him and dated
when he was upwards of seventy years old.
Madrid (see Buen Retiro).
MAJOLICA.
In the chapter on and Renaissance " some refer-
" Mediasval
ence has been made to the products of Gubbio, and especially
to those charming specimens which were decorated by the
master-hand of Giorgio Andreoli. Some general reference
has also been made group of ateliers or bottcgas in the
to the
different towns of Italy, where work of this kind was carried on
by individual artist potters, and their assistants or pupils, under
the patronage of the petty sovereigns who were its rulers
when Italy was a collection of small states and dukedoms. The
ceramic specimens of this time, i.e. dating from the later half of
the fifteenth century, are now termed in a general way " old
majolica," but to those amateurs and dealers who have made
a special study of the different characteristics of each special
they are known as Gubbio, Faenza, Caffaggiolo, Siena,
fabriqite,
Urbino, Castel-Durante, or Pesaro, according to some peculi-
arity of colour or design in the decoration. The names here
given by no means exhaust the list of places where majolica
was made, but they are the most important. Abruzzio, Castelli,
Diruta, Fabriano, Forli, Monte Lupo, Naples, Padua, Palermo,
Pisa, Ravenna, Rimini, San Quirico, Verona, Venice all had —
their bottegas, and specimens are extant which bear either in
"
the decoration or in some such mark as " fatto in Fabriano
evidence of the place of production.
A separate notice of each of these numerous small potteries
j68 MAJOLICA
or fabriqiics
is not within the compass of the present work,
and, moreover, the marks which are found on the few
genuine specimens which from time to time come into the
market, are rather of the nature of artists' signatures,
monograms, or place-names generally written roughly with the
brush, than fabriquc marks such as we find on Dresden or
Gubbio Plate, liy M. Giorgio, circ. 1520, arms of the Brancaleoni family, border of
grotesques (Victoria and Albert Museum).
Sevres china. For full information on this subject, the reader

is recommended Marks and
to refer to Chaffers' large edition of
Monograms, or to Dr. Drury Fortnum's Majolica, an excellent
work which deserves careful study by the amateur. In many
cases, when no distinctive mark or special feature in
there is
the decoration, becomes exceedingly difficult, nay, almost

it
impossible, to assign the specimen with any certainty to its

particular fabriquc, for not only do the different makes closely
resemble one another, but from the fact that ware made at one
CASTKLLI MAJOLICA.
One ofa pair of Vases from ibe Zsdiillc colleclion.
MAJOLICA 269
place was sometimes sent to another to receive a particular

kind of decoration, and also that some of the artists migrated
from one Italian city to another, the identities of the different
Caffaggiolo Pitcher, wilh the arms of the Medici family and other decoration.
wares have become confused. Our best authorities differ, and

one finds such alternate descriptions as " Caffaggiolo or Faenza,"
" Faenza or Castel-Durante " appended to specimens about which
experts find it impossible to be quite certain.
The inexperienced collector should be very cautious in
270 MAJOLICA
purchasing specimens of these highly prized old fabriques without
ample guarantee that they are genuine. Nearly all the existing
examples are known and described in various catalogues of our
museums and famous private collections, and it is only when
celebrated collections are dispersed, as at the famous Narford
Hall or Fountaine sale in 1893, or the Spitzer sale in 1895, that
one gets the opportunity of acquiring really fine pieces of old
Caffaggiolo Plate, circ. 1515-20, decorated with the interior of a painter's studio
majolica. Mr. George Salting's collection, in the Victoria and

Albert Museum, abounds in beautiful examples of all the best
fabriques. Dr. Drury Fortnum's collection, presented to the
Ashmolean Museum at Oxford, is very rich, and both the
British and Victoria and Albert Museums contain many famous
specimens which should be carefully examined if the reader
would form a judgment on this most interesting class of ceramics.
Probably the highest price ever realised at auction for a majolica
specimen was that of ;^2o8o, given by Mr. George Salting at the
sale of the Spitzer collection in Paris for the Caffaggiolo plate
MAIOLICA \"A.SE.
Fahriqiie Urbino (Cir. 1550).
SniZKR (^n.I.KCTION.
)
MAJOLICA 271
decorated with figures of Judith ;uid an attendant, the latter

holding the severed head of Holofernes. We give a coloured
illustration of this remarkable specimen.
While these pages are under revision for a third edition (191 i
this price has been almost equalled by that given by Mr.
Durlacher (;£^205o) for a Siena plate of the fifteenth century pur-
chased at the sale of the Launa collection in Berlin.
A few notes on some of the special features
of the most
imporiant /abrtqiics may be Gubbio was noted for its
of interest.
famous lustred majolica, the beautiful gold and ruby metallic
colours being produced by a process which was a highly prized
secret. Plates and vases made at Pesaro, Urbino, and Castel-
Durante were sent to Gubbio to receive additional decoration in
these lustred pigments. This lustred decoration was also in use
to some extent, but with much less success, at Diruta.
The majolica of Urbino is considered to have been at its best
about 1530-40, and to have maintained its excellence for about

thirty years. It was during this period that Francesco Xanto
and Orazio Fontana worked here, and there are specimens in

Mr. George Salting's collection bearing the signatures of these
artists. We also give a coloured illustration of a fine vase which
was in the Spitzer collection.
The decoration is that known as " Raffaelesque,"
style of
with scrolls and grotesque ornament forming a kind of ground-
work, while medallions of Cupids or of mythological or his-
torical subjects occupy the centres, or prominent positions in the
scheme of decoration of the vase or plate. The colourings are
generally a deep orange and blue, and although highly decorative,
the ware lacks the force and expression of the earlier work pro-
duced at the Casa Pirota in Faenza, or of Caffaggiolo. Siena, or
Forli.
The beautiful majolica of Caffaggiolo is distinguished by one or
two peculiarities. The words " Semper" and " Glovis" occur some-
what frequently, and are generally found on a label or tablet
forming part of the decoration also the letters S. P. Q. R., and
;
S. P. Q. F., which signified Sriia/ns Populusqne Roinanus, or

Scnaitis Populusqne Florcutinus. The word "Semper" was the
adopted motto of Pietro di Medici in 1470, and " G/oots " was
a device favoured by Guiliano in 15 16. The drawing and
colouring in Caffaggiolo ware are both spirited and vigorous, and
in general characteristics it is similar to that of Faenza, Forli,
and Siena. The glaze is white and even, and a favourite pigment
272 MAJOLICA
was a deep lustrous blue, as dark as lapis-Iazuli, laid on with a
brush, the marks of which are apparent.
Specimens are frequently unmarked, but a favourite mono-
gram S. P., also a trident and the inscription " in Caffagiolo," are
found. The word is variously spelt as " Caffagiulo," " Chaffag-

giolo," " Cafagiol," " Caff aggiolo."
Signature of Nicola da Ui'1)ino.
^7
yO
\ Pesaro Mark. Mark on a specimen of Baldasara.

MAJOLICA 273
/v)^
GuuiJIO. M" I'rcslino.
iy\. dix^loy mono

7 6 oCc IS" d, ^ VicSlvo prefttno
."P.
M" Prestino.
Maestro Giorgio (Gubliio).
[4*P4*gi^(E" M°
f
Prestino.
JL
m(E «J»9
P. 'saro
t
The above are some of the
various signatures of Maestro
Giorgio (Gubbio). I
274 MAJOLICA
0° O-hA
^PIS'AVRI -
IJ8Z
O^'
^
m
m
©
I r
'^
Castel-Duiantc.
MAIOLICA PLATE.
Fahrique CaFFAGGIOLO,
In the Salting Com.kci ion,
Victoria and Amikkt Miisku.m.

MAJOLICA— MARl EBEKG 275
" FraU delin a
''fate in Monte.'
In 1110 nit t j--^/
Monte Lupo.
Malaga (see Hispano-Moresco).

Manerbe (see Lisieux).
Makie Antoinette (see Paris Rue, Thirou).
MARIEBERG, Sweden.
The factory here, at which both pottery and porcelain were
made, was commenced in 1758 under the patronage of the King,
Adolphe Frederick, by the royal dentist, Jean E. L. Ehrenreich.
The works were closed in 1789. The faience was of good quality,
with a clear white glaze. The pieces manufactured were mostly
276 MARIEBERG
table ware, but statuettes were also made. The author once had
a pair of reclining figures forming boxes ; the figures were clad
in the peasa'nt costumes of the country.
\U Uy
\U
— (I ^
//B 1764. Ehrenreich, Director.

Frantzen, painter.
u\yj
/^.ro
XVIII. Century. Slen, Director. /^BB

The mark is somewhat complicated. There are the arms
of Sweden, three crowns; MB., generally in a monogram, for
Marieberg the initial of the Director, as E. for Ehrenreich, B.
;
for Pierre Berthevin, S. for Henri Sten, &c. and the initial ;
of the artist, as F. for Frantzen, a decorator of some note and ;
sometimes a date.
VJ-^
JVB yvB
EslalW- 1770. Frantzen, Sten, Director. Chra 17S0.
decorator.
sll u/
^ ">^
Jf
^
The porcelain, as distinguished from the laience, which was
made here, was French in style, no doubt owing to the employ-
ment of French artists and workmen. The marks were similar to
MARSEILLES 277
tliose on the pottery, but the date was generally omitted. Tlie
statuettes, candelabra, and similar pieces are mostly marked
with the letters MB scratched in the clay. (See specimens in
the Victoria and Albert Miisenni, and the Franks collection.)
MARSEILLES.
A hard-paste porcelain factory was established at Marseilles,
by Joseph Gaspard Robert, about 1776, and Mr. Chaffers quotes
an order for a service from England, which shows that the fac-
tory was renowned at this time. The works ceased at the time
of the French Revolution (1793)-
The quality of the paste is only moderate, and not highly
translucent, with a glaze which is somewhat unequal, and slightly
grey in tint. It has more the appearance of fine pottery than of
porcelain this is probably due to the fact that Robert was

;
better known for his faience than for his porcelain. The mark is
the initial or monogram of the potter.
s
R-K-
—
278 MARSEILLES— MARTIN WARE

painted in birds, and fish, in green shaded with black, and
fruit,
these are marked "

Robert a Marseille." The tlenr-de-lis and
also the initials C.S. are said to mark the productions of a faiencier
named Savy. There are still potteries in the neighbourhood.
The following marks are given by Chaffers as attributed to

various Marseilles potters :
B-
Antoine Bonnefoy.
MARZY— MASON & CO. 279
and full of individualily while their custom of never repeating

;
any piece exactly, makes each specimen unique. Martin stone-

ware is a glazed ware varied in character, self coloured, with
incised ornament, black and white, "sgraffiato" decoration, and
some of it is similar to Doulton's impasto ware. The factory is
at Southall, and there is a shop for retail purchasers in Brownlow
Street, Holborn. The mark is the name of the firm, " Martin
Brothers, London and Southall," scratched in the paste.
MARZY, NEAR Nevers, France.

M. Tite Henri Ristori commenced 'TT
the manufacture of high-class faience here *
J/ y^
in 1850. First-class medal, Paris Exhi- ^Jbdtl^r /(fi^V^J
bition, 1856. Specimens at South Ken- '/SSS'
sington.
MASON & Co., Lane Delph, Staffordshire.

This factory was established in the eighteenth century by
Miles Mason, and afterwards continued by others of the family
under the style of Mason & Co.
A shop in Fenchurch Street was opened by Miles Mason
in 1780 for the sale of East Indian china ware, but the business
came to an end on account of the heavy duties imposed about
this time. Further knowledge of his career is given us in a lengthy
advertisement which appeared in the Mnniing Herald of October i,
1804, in which he sets forth that he has now established a
manufactory at Lane Delph near Newcastle-under-Lyme where
" he can turn out china superior to Indian Nankin, and that
in order to combat the prejudice against these English copies,

he is prepared to match any parts of services for the nobility
and gentry, trusting that if these efforts are successful he may

be favoured with further patronage and so he hopes to rival the
productions of foreign nations." He adds that his name will be
stamped on the bottom of large pieces to prevent deception.
The ware which he produced, is generally in the character
of old Oriental porcelain, the colouring being in reds and blues,
and a great deal of it printed. Some of the more expensive
services are enriched with gilding, but no one need refer to the
mark to distinguish his ware from real old Chinese porcelain.
After the death of Miles, the business was carried on by his
280 MASON & CO.
two sons the one named Charles James took the leading part,
;
and it was under his management that those large important

vases some 3 feet in height which are occasionally to be found,
were produced. He also made some highly decorative chimney-
pieces in Mason's ironstone ware. In 1857 the business passed
into other hands, and at the present time Messrs. George Ashworth
and Brothers of Hanley are the proprietors, and turn out excellent
ware, chiefly for table use.
The fine ewer illustrated is a most unusual specimen, and
Kwer of Mason's Ironstone china, foimcrly in the collection at Pryor's Bank, Fulham.
shows what e.xcellent work Mason & Co. were capable of produc-
ing. Their ordinary productions were table services of a very
hard, durable body, decorated in blue and red, sometimes in the
character of Oriental china. A service which was once in the
author's possession was decorated with a rich lustrous blue, with
gilding, and would have passed for the best Spode. Of all the
ironstone china ware, Mason's is undoubtedly the best (see
Lane Delph).
The marks on Mason's Ware have varied dining the long
history of the business.
The earliest pieces were stamped Miles Mason in the clay.
MAYENCE 281
From 18001805 a cartouclic was printed on the ware

to
with C.J.
Mason, Lane Delph, and
in 1805 the words Kenton
Stone Works were also printed as a mark.
From 18 13 to the present time Mason's Patent Iron-
stone China surmounted by a crown has been used, and we
also occasionally the name of the
tind particular pattern or
design printed on the ware, thus Mason's Camhrian Argil.
MAYENCE, Nassau.
Geltz of Frankfort commenced to make faience at Hochst,
near Mayence, under the patronage of the Archbishop, towards
the beginning of the eighteenth century. The productions
were of excellent quality. The mark is a wheel of six spokes
(sometimes five), the arms of the see the wheel is occasionally
;
surmounted by a crown, and at times has the name or initial of

the artist.
®
j^ ^ ^/£jc/htfX,&eo^
M
G the initial of Geltz.
h
Possibly the initial of
Melchior, an artist.
Geltz was induced by one of his workmen, named Bengraf,

to turn his attention to the manufacture of porcelain. The
first experiments but having induced Ringler, a workman
failed,
from the Vienna manufactory, to assist him, in 1740 they suc-
ceeded in producing good porcelain and from this time, under
;
Ringler's management, the factory commenced to thrive. The

secret recipe of porcelain- making was contained in some papers
that Ringler was known to have always about him and one day ;
his fellow-workmen, having made him intoxicated, obtained these,

and it is due to this trick that so many porcelain factories sprang
'
282 MAYENCE
up in different parts of Germany, for not only did Ringler leave
the works in disgust, and take his knowledge elsewhere, but the
dishonest holders of his papers sold the secret to any one who
would pay them a handsome douceur.
Under Emmerick Joseph, Elector of Mayence, the factory
became a state establishment, and the services of a celebrated
modellei', J.
B. Melchior, were engaged and as no expense was
;
spared in themanagement, it is to this period that the finest speci-

mens of the Hochst or Mayence factory may be attributed. The
spirited modelling and delicate colouring of the groups are ex-
cellent ; the peculiar violet-red colour, for which some of the
pieces are famous, is said to have been lost to ceramic art with
the death of a painter.
The clay is been brought from Limoges, and the
said to have
greatest secrecy was observed in the different processes. The
paste is hard, but fine and white and some of the modelling is,
;
as Marryat observes, unrivalled.

After Melchior left the factory the works deteriorated very
considerably. Under the directorship of Reiss, his successor,
peculiar large-headed figures were produced. When the French
invaded the country in 1794 the manufactory was broken up, and
the stock and plant sold by auction.
The marks on the porcelain were the same as those
used for the pottery, and were painted in blue, red, or gold.
Pieces marked with " M," Melchior's cypher, are very rare and
valuable.
One finds occasionally figures marked with the initials of
Joseph Schneider, one of their noted modellers. The groups and
figures of this factory have appreciated in value enormously
within the last few years, and in 1909, at the sale of Sir Walter
Gilbey's collection, two miniature groups less than three inches
in height realised 350 guineas.
Biscuit was also made at Hochst, but was unmarked.
After the factory was closed the models and some of the
plant were removed to Damm, near Aschaffenburg, and a
•
MAYER— MEN EgV 283
considerable trade was carried on, but the work was

very inferior —
indeed the material is only pottery
and not porcelain, and the colouring and linish are
crude. The mark
wheel as given
Specimens
is
in the
in the
the
margin.
letter D beneath the
Franks collection are worth attention.

D
MAYER.
In the potting district of Hanley there were many potters
who established themselves in the latter part of the eighteenth
century. Elijah Mayer commenced business in 1770 and died
in 1 81 3. He made a good cream also ware,
an and
imitation of Wedgwood's black son Joseph
basaltes. His
succeeded him in the business, and the firm was subsequently
T. J. & J. Mayer. The best of the ware is that which occasionally
we find stamped E. MAYER. (See also Hanley.)
Medici Porcelain (see Florence).
Meigh & Son (see Old Hall).
Meissen (see Dresden).
Melun (see Vaux).
MENE^Y, ViLLEROY (Dept. Seine et Oise).

This manufactory was founded by F'ranfois Barbin in 1735,
under the protection, and on the estate, of the Due de Villeroy.
About 1748 the directorate passed to Messrs. Jacques & Julien,
who continued the works until 1773, when ___.^-
they were removed to Bourg la Reine {q.v.). • J-J^
The earlier specimens are remarkable for the beauty of the soft
paste, and the decoration is generally floral and very simple.
Mene^y is one of a group of factories, including those of
Sceau.x Penthievre, St. Cloud, Chantilly (the notices of which may
be referred to), whose productions, with the exception of those of
Chantilly, were comparatively few but excellent in quality and, ;
as the work was done to satisfy the critical fancy of the artistic
proprietors, there was no inducement to make great quantities of
inferior articles for sale at remunerative prices. Indeed, from these
undertakings the commercial principle seems to have been entirely
absent —
they were the hobbies of rich amateurs. Nothing can
be daintier or more charming than the little flacons and toys of
Meneyy porcelain, generally consisting of tiny Cupids or shepherds
—
284 MEN Eg Y — M ETTLAC H

and shepherdesses, with bouquets or baskets of flowers, and having
not infrequently a scroll bearing a French motto or legend. It
was no doubt these little gems of the

potter's craftsmanship which were copied
at the Chelsea works, and so similar are
some of the smaller pieces of both
factories that it is not unusual to see a
description of a flacon in a catalogue as
"either Chelsea or M6ne9y." Mr. J.
H. Fitzhenry has made a valuable col-
lection of Menegy, and kindred soft-
paste French porcelain, which he has
recently presented to the Victoria and
Albert Museum, and the Franks collec-
Milk-pot of Menefy Porcelain. tion contains several excellent pieces.
Amateurs should carefully study these,
and, if they collect Continental porcelain, should lose no oppor-
tunity of acquiring specimens. They are rare and difficult to
procure at moderate prices. The mark is scratched in the
paste, but specimens are frequently unmarked.
In Cte. de Chavagnac's Histoirc des manufactures Fran-
daises de porcelauic a great many variations of the D. V. are
given, including one with an imperfect coronet above the letters,
another with the letters combined in a cursive monogram, and
also the letters C. P. R. L. X. in addition to the D. V. In one
case the full name, " de Villeroy," of the patron is scratched in
the paste. The same authority mentions the manufacture of groups
and figures in biscuit, and these we have occasionally seen they ;
are charmingly modelled, but the body of the paste is not so white
as that of Sevres. Refer also to notice on Crepy-EN-Valois.
METTLACH, Rhenish Prussia.

Herr Jiinnike gives the following marks as those of MM.
Villeroy & Boch, modern manufacturers of gres stoneware :
— '
IVriDDLESHOROUGH—MILAN 285
MIDDLESBOROUGH POTTERY.
There was a pottery here in 1848, but for how lonf» previ-
ously is not known. The marked specimens which the author
has seen are generally printed with an English land- -ir^
scape, and the border of the plate or dish is embossed ^^qN^

like a picture-frame. Chaffers mentions an earthen- t-^-
ware dish with a Biblical quotation, " Job 14, 10,"
which was purchased at the pottery in 1848, and
he also gives the mark in the margin. Major-General Astley
"
Terry had a tureen with the words " Middlesborough Pottery
round an anchor impressed, and a small specimen with a similar
mark is in the Swansea Art Gallery (Glynn Vivian bequest).
MILAN, Italy.
Faience was made here by various potters in the eighteenth

and nineteenth centuries. The following marks are given by
Chaffers :
Jl Pasquale Rubati
Mit.
^r weekly
XXIII. CeiiUiry.
XX'III. Century.
J.
Richard. XIX. Century.
286 MINDEN— MINTONS
Porcelain is said to have been made here late in the seventeenth
century, but nothing is known of it. A modern firm, " Manu-
facture Nationale de J.
Richard & Cie.," makes both porcelain
and faience of high quality ; their headquarters are at Milan, but
the factory will be found noticed under the heads of Doccia and
Ginori, q.v.
MINDEN (Westphalia).
Faience was made here in the eighteenth century,
Cand the letter M
is sometimes found upon specimens,
but more frequently the mark is three crescents, which

occur in the coat of arms of the Hanstein family to
C g^
W
whom the factory belonged. There is little to distinguish
Alinden faience from other German ware of the same
^ kind.
MINTONS
The productions of this eminent firm are so well known,
and the improvements made in their manufactures have been
so rapid, so recent, and so prominently before the world,
that only a few facts and dates are needed to complete the
information that everybody must possess. The works were
founded at Stoke-on-Trent in 1793 by Thomas Minton, and
have been considerably enlarged from time to time as the re-
putation and business of the firm have increased. Thomas
Minton was a clever engraver, and was at one time in the
employ of Josiah Spode. In 1840 he formed one of a small
commitee of potters who bought a tract of country, in Corn-
wall, abounding in clay and felspar, and at considerable pains
succeeded in establishing a scheme for supplying with the requisite
materials the different manufactories interested. In 1828 the
manufacture of the now celebrated encaustic tiles was introduced
by Herbert Minton (their first employment being for the smoking-
room and lobbies of the House of Commons, the then new Palace
of Westminster); the manufacture of majolica was added in 1850.
In 1868 HoUins, hitherto a partner, separated from Campbell,
Mr. Colin Minton Campbell, the late head of Mintons, and formerly
M.P. for North Staffordshire, continuing the china and earthen-
ware works, and taking into partnership Thomas and Herbert
Minton, great-grandsons of the founder.
Mr. Campbell devoted himself to raising the prestige of the
firm, and spared no expense nor effort to secure the most capable
-
MINTONS 287
artists and during his directorship, which lasted from 1858 until
;
1885, Mintons, in addition to their ordinary productions, made

some chefs d'auvres which were in many instances signed by the
painters. When the private collection of Mr. Campbell was
sold at 1902,
Christie's in many of these fine examples of
English ceramic work, mostly in the character of old Sevres,
realised good prices. Amongst the names of the different
decorators which were given in the Sale Catalogue were the
following : —
L. BiRKS, panels of Cupids.
C. Toft, branches of flowers in the Chinese taste.
Wyse, decoration in the style of Urbino.
'A. BiRKS, pupil of L. M. Solon, Cupids in white on a pink field.
' F. Rhead, pupil of L. M. Solon (he left Mintons in liji)), pd/c sur pate
decoration.
A.Green, landscapes and flowers.
Delpayrat, Cupids in white on dark background.
HOLLINS, figures and trophies in white on a brown ground.
R. PiLSBUSY, sprays of roses and camellias in colours on a pink ground.
BOULLEMIER, panels of Cupids on Rose du Barry ground.
Mason, figures and flowers in white on olive-green ground.
Richards, vases bamboo design, Japanese style.
Leroi, birds en grisaille.
Cooper, Rafifaelesque ornaments.
KlRBY, style of majolica.
*
Wright, and aquatic plants.
iris
MOssiLL, lilies on pale green ground.

FOSKER, figures and chrysanthemuins.
For modelling, the services of the eminent sculptors Carrier-
Belleuse, Emile de Jeanest, and Protat were secured. In
addition to these Mr. Burton, in his History and Description of
English Porcelain, mentions Thomas Allen as being the most skilful
of English painters on porcelain, and also an artist named Jahn.
The fine work of Louis Marc Solon, and \\\s pate sur pate process
is well known, and some of the best of this was produced during
Mr. Campbell's management. Among the signed pieces in the

collection already noticed were some pieces by Solon, and also
by his son. This charming process of decorating porcelain was
introduced by M. Solon in 1870, and is more fully described in
Chapter IV. Mr. Herbert Eccles of Neath has made a collection
of Solon's works, from the earliest specimens produced in Paris
and signed with his monogram and also " Miles," to the year of
his retirement from Mintons in 1904, and has also some few
plaques produced since that time.
^ Specimens signed A.B. and f'.R. of Mintons Porcelain are probably by these artists.
'
288 MINTONS
M. Leon Arnoux succeeded Mr. Campbell, and under his
highly capable management the firm of Mintons continued their
best traditions.
In 1875 the tile works carried on by Mr. Robert Minton
Taylor, a former partner in the firm of Minton, Hollins & Co.,
were purchased by Mr. Campbell, who erected a manufactory at
Stoke, where the encaustic tile business is carried on under the
title Campbell Brick and Tile Co.

of the
True porcelain was not made here before 1821, though a semi-
translucent ware had been produced some twenty years earlier,
but the most marked improvement, dating from our 1851 Exhibi-
tion, took place under the directorship of Campbell and Arnoux.
The paste is soft and white like that of all the best English china,
which has peculiarities of its own that will be easily noticed by
comparison with others. A new body of special softness and
whiteness was introduced about thirty-five or forty years ago, and
on this are paintings of great merit in the style of old Sevres,
the ground colours being particularly good, and the gilding equal
to that of Sevres. This description of china is impressed with
the mark
^ MINTON ]
the two brackets embracing " Minton " forming the letter C
reversed, and reading " Colin Minton Campbell."
In addition to these marks the impressed mark MINTON
AND BAYLE was in use from 1836 to 1848, and from 1845 to
1861 earthenware was marked B.B. NEW
STONE. There
was also a special pattern service made by this firm about
the time of Lord Amherst's appointment as Governor-General
of India, in 1823, and this had the words S^m/iertif^ Jupan, Stone
China printed on a scroll.
The more recent mark is the globe with MiNTONS printed
across its centre and surmounted by a crown, and another
mark of the globe and Mintons with the words STOKE
ON TRENT, WALLBROOK, LONDON.
The
firm have also a system of marking their special pieces
with symbol indicating the year of production, commencing
a
with the year 1842 with an asterisk down to 1900 with a
duck having the figure 5 on its body. After 1900 the numerals
I, 2 d scij. are inside a circle. These marks are not pub-
lished by the firm, but some of their customers have lists for
MINTONS 289
reference, and the one given below is due to the courtesy of

a friend.
1842
290 MORTLAKE— MOSCOW
MoNTAiGNON (see Nevers).
Monte Lupo (see Majolica).
Moorish (see Hispaxo-Moresco).

Morgan (see de Morgan).
MORTLAKE.
A
small pottery was established at Mortlake in the latter part
of the eighteenth century by a man named Saunders, of whom
little is known. Another named Joseph Kishere, made here
potter,
some brown which he ornamented with figures
salt-glaze pottery
in low relief, and Major-General Astley Terry had a specimen
impressed
KISHERE, MORTLAKE.
The pottery has little merit, but collectors of marks like to
identify specimens of some of these m\nor /trbi-iqiics.
MOSCOW, Russia.
An Englishman named Gardner started a porcelain factory

at Twer in 1787. The mark was generally his name in full, in
Russian characters. This mark is on a
P/VP/V up p^ milk-pot formerly in Mr. E. W. Craigie's
collection. The letter G in blue, on
statuettes and groups, is also attributed
to him.
Another factory here was founded in
c 1830 by A. Popove, whose monogram

or
is
name is
hard, and
ihe fabrique mark.
its customers seem to have
The paste
been mostly limited to the Russian Court. A tea service of this

factory is at Knole, Sevenoaks.
A\ nonoBLi
Cf)!"* Another porcelain factory was that of M.
Gulena. The letters at the top of the mark
JXM/IHA "' ^'i'^ margin stand for " Fabrica Gospodina."
MOUSTIEKS 291
MOUSTIERS, Basses-Alpes.
The manufacture of artistic pottery or faience here, appears to

have been carried on at a group of ateliers,and not at one sole
fabrique, as is mostly the case. M. Jacquemart gives much
interesting information as to a family of potters named Clerissy,
who, like the Delia Robbias, worked in succession from 1686
Barber's dish of Moustiers faience (Victoria and Albert Museum).
until 1850, one of the sons or nephews of the founder being

created Baron, or Seigneur de Trevans, in 1743, by Louis XIV.
Three different manufactories existed in Moustiers in 1745, eight
in 1756, eleven in 1789, and five only in 1799. The styles of
decoration vary considerably, and the expert has the greatest
difficulty in assigning some unmarked specimens.
Q.h'iryf.ciônificTj. •Fe
efiei Cleriffy
Established 1698.
ff ¥
292 MOUSTIERS
«5orliua Zcy,
MiGUe( \liiax
Olery.
FoG.lanae
•qy-
CHOS
Various Potters, XVII. ami XVIII.
Centuries.
^/ô u<t*g^^:;>^
J^ t)c
$0 <:?
1778.
1/ j-errat Trum^tie/ro
Q ^âi>^^
'7.
XVIII. Century.
Marks of Olery with painter's initials.
^'?^,
^
MCA \yi6l^ -^'77^
MOUSTIERS— NANTGARW 293
'J '/lion a Moustiers.
Antoi>ie GiiicJiani,
de Moustiers, 1763,
"
c=i6-' Ic \o X'^
Guichard, potter. XVIII. Century. Other Moustiers Potters.
The following potters' signatures are given by Herr Jannike.
^f kit F^ :ri ^* jx, £ i^q-

j^sf
/A /> So?
J i -BL^/
ay
%^
^}iiefAcg.s\rr>
Munich (see Nymphenburg).
Namur (see Ardennes).
Nankin (see China).
NANTES, Loire-Inferieure, France.

small factory of porcelain was established here in 1780 by
A
Jacques Fourmy, Pierre Auguste de Roslaing deNivas, and Nicholas
Fdurnerat de la Chapelle. The mark, if any, is unknown.
NANTGARW, Glamorganshire, Wales.

The histories of the factories of Nantgarw and of Swansea are
intimately connected on account of Billingsley's work and influence
at both places, and the porcelain produced during the period of
that influence is almost identical. There is, therefore, naturally
some confusion in the minds of collectors, which we will en-
deavour to remove by a very simple statement of facts.
When William Billingsley and his son-in-law, Samuel Walker,
leftthe Worcester works in 18 11, and by so doing broke their
agreement with their employers, they settled in the village of
294 NANTGARW
Nantgarw, and built some small kilns for the manufacture of
soft-paste porcelain. Want of capital prevented the venture from
going far beyond the experimental stage, and they applied to
Government for a grant to aid them. Mr. Dillvvyn was in conse-
quence instructed by the Board of Trade to investigate and report;
and he was so favourably impressed with the beautiful paste
produced by these potters, that he built larger kilns at Swansea,
where a china factory already existed, and Billingsley (or Beeley,
as he then called himself) and Walker removed to the new works.
In the notice on Swansea, we have pointed out that, upon
being acquainted with the breach of contract of his new employes
or prot^g^s with the Worcester firm of Flight & Barr, he severed
the connection, and they then returned to Nantgarw and en-
deavoured to continue business upon the old lines. This was in
1817, and after they had struggled on for two years, Mr. Rose of
the Coalport works made an arrangement to secure their services
for his factory.
Previous to this Mr. W. Weston Young, who had been employed
at the Swansea works, appears to have joined Beeley, or Billings-
ley, and Walker, in the petition to the Government for pecuniary
assistance. When they left Nantgarw for Coalport he appears to
have purchased the plant left behind, and to have continued the
works with the assistance of Thomas Pardoe, a skilful painter on
china, formerly of Bristol.
Beeley is said to have pretended to sell his secret to Young,
but he did not do so, and the porcelain made by Young and
Pardoe was harder than that of Beeley's production. The
renewed attempt was a financial failure, and the factory was
again closed in 1822,
The porcelain made at Nantgarw by Beeley is almost identi-
cal with made at Swansea from the same recipe it has a
that ;
white body, a tine transparency, and a beautiful clear

brilliant
glaze.
to
The paste made afterwards by Young was of a harder
and more vitreous appearance, and is not so highly valued by
fastidious collectors.
The painting of flower subjects is most artistic and skilful,
pink briar roses being a favourite subject, on both vases and
services, while a delicate, small green trefoil ornament often
decorates the border of plates. Birds, and very rarely landscapes,
were also painted, but nearly all the more ambitious and ornate
pieces of Nantgarw were sent to London in the "white," and
there decorated by different painters and gilders.
5 w
<
o
H .. a-
2
NEALE & CO. 295
The late Duke of Cambridge possessed several table services

of Nantgarw and Swansea china, which after his deatli were sold
at Christie's, in May 1904, and realised good prices.
At recent sales the values of good Nantgarw, particularly
of such specimens as are believed to have been decorated at
Nantgarw by Billingsley, have risen enormously, as much as _^20
and ^25 being given for a plate with flower painting only.
Mr. Alexander Duncan, Mr. Eccles of Neath, and The
Macintosh have good representative collections of Nantgarw.
The mark is NANTGARW impressed, and sometimes the
lettersC.W., for " china works," underneath. Collectors who
make Nantgarw china are recommended to consult
a speciality of
a recently published work, entitled The Ceramics of Swansea and
Nantgarw, by W. Turner. The Cardiff Museum should also be
visited. (See also notice on Swansea.)
Naples (see Capo di Monte, also Majolica).
Nast (see Paris).
NEALE & CO.
A firm of potters of this name was in existence at Hanley
about 1778-87, and made some very clever imitations of Wedg-
wood's jasper ware. Neale also made
ware something like the agate ware of
Wedgwood, but with a surface more re-
sembling polished granite, sometimes with
cameo medallions and charminglymoulded
wreaths or festoons of husks. There is a
vase of this kind in the Victoria and Albert
Museum. Many unmarked specimens of
Neale & Co. are attributed to Wedgwood.
There are some good specimens in the
Victoria and Albert Museum and also in
the British Museum. The mark is im-
pressed, but many specimens are un-
marked. The Toby " Fillpot " illustrated
is a marked specimen of Neale & Co.,
and is in Mr. Frank Falkner's collection
on loan to the Dublin Museum.
Palmer, who had commenced business Toliy " Fillpot.'
in Hanley after quarrelling with Wedg-

wood, was for a time in partnership with Neale, and a story is
told that Palmer's wife, who by the way was a daughter of Heath,
296 NEALE & CO NEVERS
the well-known potter, visited Wedgwood's show-rooms in London
to purchase models for the purpose of copying them, and it is said
that they forged the mark Besides the mark
of their great rival.
given below, both Palmer and Neale had a circle impressed on some
of their ware with their name and that of the town " Hanley " in
Roman capitals within the circle. A potternamed Robert Wilson
was also a partner with Neale in 1778, and continued the business
after his death, when he is said to have improved his body and
to have produced some copies of Wedgwood's Portland vase, also
some good Toby Fillpots and silver lustre ware. After Wilson's
death the works were carried on by his brother and his sons, and
in 1820 the business was owned by Philips & Bagster, but
eventually passed into the hands of Ridgway & Co., who are still
large potters in this district, and have other branches. The mark
of " Ridgway " in several varied forms occurs on a great many
specimens of good Staffordshire ware.
Neale & Co.

Neudech (see Nymphenbukg).
NEUHALDENSLEBEN, Hanover.
The following marks are found upon various modern imita-
tions of ancient majolica made here.
NEVERS.
But little is known of a porcelain factory here it is barely
;
mentioned by Brongniart as existing in 1844 under the manage-

ment of MM. Neppel & Bennot. Several manufactories of faience,
some of which were of considerable importance, had been in
existence during the seventeenth century and later.
Chaffers quotes from the best French authority, M. Broc de
Segange, the following classification of the different kinds of
Nevers faience, which may be of use in determining the approxi-
NEVERS 297
mate date of specimens by tlieir character and decoration.

M. de Segange was director of the Nevers Museum in 1863, and
in his book, La Faience et les Faienciers de Nevers, has practically
exhausted the subject.
1st Epoch, 1600 to 1660. Tradition italienne.

2nd Epoch, 1650 to 1750, Goftt chinois ct japonais.
1630 to 1700, Gout persan.
1640 to 1789. (".out franco-nivernais.
3rd Epoch, 1700 to 17CS9, Tradition dc Rouen.
1730 to 1789 Tradition de Moustiers.
4th Epoch, 1770 to 1789. Goiit de Saxe.
5th Epoch, 1789. Decadence de I'art.
Specimens of Nevers are difficult to identify, owing to the

similarity of their characteristics to those of the Rouen and other
similar faiences. The following are the best-known marks, but
there are several others, chiefly potters' and artists' signatures,
quoted by Chaffers, who
has also given a great deal of detailed
information respecting some of the many potters of Nevers.
Vase of Neveis iaiL-nce, Persian Ewer of Nevers faience (Victoria

style of decoratiun (Victoria and Albert Museum).
and Albert Museum).
298 NEVERS— NEWCASTLE-ON-TYNE
Witliin tlie kibt twenty-five years or so

a revival of the manufacture of faience has
been brought about at Nevers by one Mon-
taignon, who has adopted as his mark a
rebus of his name " Montaignon," the tie
(taignon) being coloured green, and the
letters, sometimes " Mon " and sometimes
" Montaignon " in full, being in black. He
has copied to some extent the old designs
and colourings.
NEWCASTLE-ON-TYNE.
Pottery of a coarse but effective decorative character was
made by several potters in the neighbourhood of Newcastle, and
also at Sunderland from about 1777 to 1825. Professor Church
mentions the names of Sewell, Donkin & Co., Fell & Co., and
St. Anthony. Chaffers also gives Moore & Co., and the " Sheriff
Hill Pottery." In general character specimens resemble Stafford-
shire pottery, but are less carefully finished and more highly
coloured. The " frog " mugs already mentioned as made at
Leeds, were also made at the Newcastle potteries, and a
peculiarity of this ware is to be noticed in a band or border of
pink lustre colour. Mugs, generally of cylinder form, we find
decorated by "transfer" process with verses, a ship and
inscription, or commemorative of some historical or
a legend
political event. and busts of celebrities were also
Statuettes
made here, and Professor Church is of opinion that the crude
"marbling" of the bases of these pieces identifies them with
Newcastle rather than with the Staffordshire potters.
Imitations of Wedgwood's cream-coloured ware were also
made in considerable quantities at Newcastle, and some of these
bear the name of Wedgwood spelt " Wedgewood." As a general
rule Newcastle pottery is unmarked, but Chaffers mentions the
mark of " Newcastle," and sometimes the names of the potters
mentioned above are found.
NEW HALL— NIDERVILLER 299
NEW HALL, Shelton, Staffordshire.

The manufacture was commenced here about 1782
of porcelain
by a firm consisting for most part of local potters. The
the
best known of the partners are Samuel Hollins, Anthony Keeling,
and John Turner (see Lane End). The
firm purchased the patent rights of
William Cookworthy's inventions (see
Plymouth) from the then owner
Richard Champion, who, it is stated,
superintended the manufacture for some
time at Tunstall before the works were Established by Whilehead, nna
TaUen by Champion's
removed to New Hall. In 18 10, Peter '
]^^°-
Company ni 1782, ceased 1825.
Warburton, son of Jacob Warburton,
one of the original partners, invented and patented the process
of metallic decoration now generally known as " lustre ware."
The mark used by this company is shown in the margin, but a
great many pieces are unmarked.
Mr. Burton mentions a vase in the British Museum (K 1 8)
which is impressed Worburlon, but his productions are scarcely
ever marked, and are generally attributed to Wedgwood.
After various changes the works
were acquired in 1842 by Messrs. HACKWOOD
& CO.
Hackwood & Company.
This firm in 1856 gave place to
Messrs. Cookson & Harding; and in C. & H. late
1862 Messrs. W. & J. Haixling were HACKWOOD.
the proprietors.
The names of the makers are impressed, as in the margin.
Several pieces of "New Hall" are in the ceramic gallery of
NIDERVILLER (Dept. de la Meurthe), near Strasburg.

A small factory of hard-paste porcelain was established here in
1760 by Jean Louis, Baron de Beyerle, Councillor and Treasurer
to the King, and Director of the Strasburg Mint. With the
assistance of Paul Louis Cyffle, of the Luneville factory, a cele-
brated modeller, and of some workmen imported from Sa.xony,
he was successful in producing some fine specimens. About 1780
the factory passed into the hands of General the Count de Custine,
whose director, M. Lanfrey, bestowed considerable care and
energy upon the improvement of the works. General de Custine,
300 NIDERVILLER
however, was one of the numerous victims of the IxepubHc, and
on his execution his estate was forfeited. Lanfrey became the
proprietor of the factory by purchase in 1802, and continued so
until his death in 1827. The /abritjite h3.s since been discontinued
owing to its unsuccessful competition with the other factories.
The earliest mark consisted of the letters B and N (for
Beyerle, Niderviller), in a monogram.
m This mark
^'
may stand for Beyeric and Custine.
M
mark was two C's interlaced, with or without
Cystine's a
count's coronet. The monogram CN and the simple initial N
also belong to this period of the factory.
X
This mark may be distin-
guished from that of
X X
Ludwigsburg by the
shape of the crown.
aA27V (BJ"
Laiifrey's mark was his monogram, F.C.L., generally sten-
cilled in blue. The name of the town in full is perhaps also
referalile to him.
%?
Stamped in relief.
NIDERVILLER— NIMES 301
Faience was made at the works under all the proprietors

above mentioned.
Niderviller was, and is, chiefly famous for its statuettes, which
were modelled by Charles Sauvade from Luneville {q.v.). MM.
de Chavagnac et de Grollier mention some groups and statuettes
incised with the name 'ôpns/inii, also Terre DE I.ORRAINE, which
they attribute to Niderviller. There is some confusion between
this factory and that of Luneville owing to the purchase of
Cyffle's models by Niderviller in 1780, and the same modellers
and artists worked at both places.
The marks used on the faience were similar to those on the
porcelain.
m
Beyerle, established 1760.
Custine.
XXVIII. Cenlury.
mCusline.
Custine.
HH XVIII. Century.
The last five are given by Herr Jilnnike.
NIMES, Card, France.

Very little is known of the pottery made here. Various jugs,
plates,and similar specimens, painted with figures of peasants,
&c., are attributed to this fabrique ; they are very
p r p
similar to the work of Moustiers, Marseilles, and
other French potteries. One specimen in the Sevres Museum,
made by MM. Plautier, Boncoirant et Compagnie, is marked
with the initials of the firm given in the margin.
— —
302 NOTTINGHAM
NOTTINGHAM Pottery and Stoneware.

Ahard brown stoneware was made at more than one pottery
in the neighbourhood of Nottingham, certainly as early as 1700,
and there must have been a considerable trade in beer and cider
mugs for use in the public-houses of the time. The above date
appears on a stoneware posset-pot, the flowers on the lower part
Posset-pot, Nutliiighain ware.
having their stalks incised and the leaves perforated. It is in-
scribed as under :
U'amnel Watlcinscn, Jtajor "l j. ,/, ,, 7

rr 1 I- ai,-r / \ Of Jvottinqkmn.
aarali, his "U/tje, Majoress j
-^ •'
r'roo
(see illustration). Another jug with an early date, 171 2, is de-

scribed by Mr. Eliot Hodgkin, and has a legend :
" ôhn ymithj J-un''.j of &aysferd near Jiottmffham.'^
There are specimens in the Victoria and Albert Museum of brown

stoneware mugs with hunting subjects in relief, also with curious
dotted designs, and one of them has a bust of Queen Anne be-
tween two beefeaters, also in relief. Couplets from old songs are
:
NUREMBERG 303
written underneath, and various dates, legends, and initials arc

inscribed. This brown ware is not unlike the common ginjêr-
beer bottle in texture and composition but its surface is smooth,
;
and there is a lustre in its brown glaze. Puzzle jugs were

also made in the Nottingham district.
Similar stoneware was made at Brampton near Chesterfield
and at other potteries in this district, but the ware made here
was not so well potted as the Nottingham work.
NOVE (see Bassano).
NUREMBERG.
Nuremberg is said to have been the pioneer in the manu-
facture of majolica in Germany. An artist named Veit Hirsch-
vogel, who had travelled in Italy, and seen the works of Luca
della Robbia, seems to have carried back his experience, and
produced in his native town some fine specimens of dark copper-
green earthenware, with subjects in relief. Some of these were
large tiles used for the ware stoves then in vogue, and there are
also still extant mantelpieces with very fine bas-reliefs, which are
attributed to him, and for which high prices have been given.
The finest specimen of this class is still in its original position in
the Chateau of Salzburg. Hirschvogel died in 1525.
The Victoria and Albert Museum has a fine criiche, or pitcher,
with figures of Adam and Eve enamelled in different colours, and
also two or three of the large earthenware stoves, exhibited in the
new pottery gallery. Early pieces are rarely marked.
From the sixteenth century to the present day there have
been many potters at Nuremberg. Most of them used their
names or initials as marks: e.g. Hans Kraut (1578), Strobel
(1730), J. A. Marx (1735), G. Kosdenbusch (1741), Stebner
(1771), and others. Some pieces are marked NB, which letters
stand for Nuremberg.
^''
A3: ^B
The modern factory of J.

von Schwartz uses this
mark
304 NYMPHENBURG
NYMPHENBURG, Bavaria.
A manufactory of porcelain was attempted here, and at Neu-

dech on the Au, in 1747, by a potter named Niedermayer, but it
does not appear to have flourished until 1756, when Ringler,
from whom so many factories received technical assistance, was
sent for, and succeeded in organising it as an establishment
under the protection of Maximilian Joseph, Elector of Bavaria.
In 1758 the works were altogether removed to Nymphenburg.
The first director was a man named Hartel, who had learnt
some of the secret processes of glazing from Ringler, and under I
his management the factory achieved considerable success, for
in 1766 some 300 hands were employed. The output, however,
must have been altogether beyond the demand, for in 177 1 the
staff only numbered about 30.
After the death of Carl Theodor, who had succeeded Maxi-
milian Joseph as Elector of Bavaria, the Frankenthal factory
was closed, and many of the modellers and painters removed
to Nymphenburg. Among those was Melchior, whose work
had materially enhanced the reputation of the Hochst factory, and
he was doubtless a great acquisition. The best of the Nymphen-
burg productions are some charming miniature figures with
a glaze which gives them the appearance of soft paste they
;
have an exquisite grace and finish, in which respects they are

second to no other ceramic productions. During the past
few years such specimens have greatly increased in favour with
both foreign and English collectors, and very high prices are
realised when they are offered for sale. The landscapes which form
the chief decoration of some of the best table services are very care-
fully painted. There are several good representative specimens
of this factory in the Franks collection.
Some of the earlier pieces were very beautifully painted
by Heintzmann. Figures and groups and vases of this factory
are excellently modelled and delicately coloured, and are
similar to those of the Frankenthal factory. As the mark is some-
times a very small shield and is almost always impressed, and
this somewhat indistinctly, specimens are apt to be passed over
as unmarked. The marks are found both impressed in the
paste and also under the glaze in blue. There is some confusion
with regard to the ^-shaped shield. This has been generally
considered to be a mark of Nymphenburg but according to
;
some of the best German authorities this was a Frankenthal
I
—
NYMPHENBURG 305
mark. As a shield of Bavaria it may have been used by both

factories.
The factory, which is still in existence, a short distance from
Munich, can be seen by visitors to the Bavarian capital. Its
present productions, however, are very inferior to the old
work, although many of the original models are reproduced.
At the recent International Exhibition
at Brussels (19 10) the
factory had an important Further reference to some
exhibit.
of the modern productions of the Nymphenburg factory will be
found in Chapter VI. {q.v.).
^
62.'
XT' 7T
n t ' \/ m
'
Impressed marks, tlie ^ is claimed liy recent writers for FiankeiUhal.
LI l.A.H
J77S
I )f D. 17. r^
The most usual mark is the shield of Bavaria, generally
impressed. The letters which accompany the shield are incised
or written in gold. The following occur on some specimens in
the Franks collection :
.iAft.
These additional Nymphenburg marks are given on the
authority of Professor Hofmann of the Munich Museum. They
are impressed or incised.
® f s
3o6 NYON— OPORTO
NYON, Switzerland (Lake of Geneva).
A small manufactory was established here towards the end
of the eighteenth century by a French flower-painter named
Maubree, who had left the royal works at Sevres. The paste
is ofgood quality, and paintings generally floral, carefully exe-
cuted, and the general character of the productions of this factory
is that of hard-paste Sevres. The mark is a fish in blue.
Pieces are also marked with the

^:x
initial G. or the word
" Geneve," either with or without the fish, and as there was
no porcelain factory at Geneva, this mark is said by Mr. Chaffers
to be that of the Genevese painters who decorated the Nyon
china. Chaffers also mentions a cup and saucer signed " Gide
1789," Gide having been the director of the factory for a time.
Mr. C. H. Wylde thinks that there was a second porcelain factory
at Nyon, but nothing appears to be known of such an one, and the
theory is probably due to the existence of two marks, one with,
the other without the fish. Specimens are in the Franks collection.
OiRON Faience (see Saint Porchaire).
OLD HALL WORKS, Hanley, Staffordshire.

Messrs. Meigh & Sons occupied these works from about
1780 the firm has recently been turned into a company under
;
the style of "The Old Hall Earthenware Company, Limited."

In the early part of the nineteenth century, earthenware figures
and other ornamental pieces of considerable merit were made
by this firm from the designs of J. B. Giarnielli.
IVIEIGH ^^'' -1°^ Meigh, junior, amember of the firm,
was the inventor of a new glaze made without
lead, for which he received the Society of Arts gold medal in
1823. The mark is an impressed stamp, as in the margin.
OPORTO, Vista Allegre.

A was
factoryestablished here about 1790, directed by M.
Pinto Basto, and a specimen cup and saucer,
turquoise, with while and gold flowers, is now in
the Victoria and Albert Museum. The paste is
Y /X hard, and the mark VA, sometimes surmounted
by a crown.
A manufactory still exists at Vista Allegre.
ORLEANS— PARIS 307
ORLEANS.
In 1753 a manufactory was established here under the pro-
tection of the Duke of Penthievre, the director being first
Giirault Daraubert, and later Henoist le Brun, architect of the
city of Orleans. Both these directors placed their
initials underneath the Orleans "label" which formed
the /(//«•/(/«(? mark. Le Brun was director from 1808

to 181 1. A fleur-de-lis is also found under the
label on some pieces. Herr Jannike gives this mark
as inuse from 1790 to 1800. Soft paste was first made,
but, following the fashion of other French factories, this was
discontinued for the more durable but less beautiful hard paste.
The general description of Orleans porcelain is similar to that
of the later hard-paste Sevres made about 1800, and unless marked,
specimens will be readily taken for the latter. The ground
colour is nearly always white, and the decoration
carefully
painted, but sparse, consisting of detached rosebuds, or a ribbon
trellis with roses, sometimes of a medallion with landscape or
portrait.
^^ i\
rÂ 3-
These are supposed to be the initials of Benoist
Le Brun, :8oS-ii.
Earthenware figures and statuettes were also made

here, marked as in the margin. There are two white
figures of Cupids in the Art Gallery of Swansea (Glynn
Vivian bequest) bearing this mark.
XVIII. Century.
OvERTOOM (see Amsterdam).
Padua (see Majolica).
Palissy (Bernard), (see Chapter II.), also Saintes.
Palmer (see Neale & Co.).
PARIS.
Towards the end of the eighteenth century several small fac-
were established in Paris. and its neighbourhood,
tories of porcelain
and were carried on with varying success. Some of these were
3o8 PARIS
known by names of the patrons under whose protection they
the
flourished, orby the name of the street in which they were estab-
hshed, or in other cases by the names of the potters or artists who
commenced business in small ateliers which sometimes developed
into a fabriqiic, or factory, of some note. The life of several of
these small businesses lasted just as long as the individual taste,
energy, or means of the proprietor, artist, or potter were devoted
to its encouragement, and in many cases was not of long
duration. Others never achieved any results of note, and have
been lost sight of. As a rule the little fabriqiic has become known
to us owing to the survival of articles de luxe of special designs
ordered by some wealthy patron, and worthy of the collector's
attention. For this reason some marks are given here that other-
wise would have little or no interest for the collector.
With regard to paste, form, and general style of decoration
they are all similar the paste is hard and like that of the later
;
Sevres china, the forms are those which we recognise as of the

" Empire " time or that which just preceded it, and the decora-
tion is in the style of the late Sevres already alluded to.
For the convenience of the reader short notices of the majority
of these " Paris " fabriqucs are arranged here alphabetically to follow
these remarks, which apply to them all. Some of them are
noticed under separate heads, and a cross reference to them will
be found for the reader's convenience.
PARIS.
This mark is considered to represent the initials of Henri
Chanou, who formerly worked in the Sevres factory and after-
wards established a small /rt/^;7<7?/c in Paris. Established 1784.
The mark is stencilled in red. Hard paste, in the style of late
Sevres.
C.}f
PARIS: CHICANNEAU.
^
CM The widow of Pierre Chicanneau
started a factory of porcelain in
(see St.
1722, which was
carried on after her death by other members of the
ClouD)
family until about 1762. The mark: with a CM
I
PARIS 309
cross under, The M probably stands for Moreaii, tlie widow's

maiden name.
PARIS: COURTILLE (RuE Fontaine au Roi)

This factory was established in
1773 by Jean Baptiste Locre, whose
partner, one Russinger, was director
throughout the Revolution. One of
the finest specimens of ceramic art
produced by this factory was a life-
size bust of La Comtesse du Barry,
valued at that time at 3000 francs
(£120).
Cream-jug of De la Courtille porce-
The fabriqiie was of hard paste,
and Albert Museum).
lain (Victoria
and the mark in blue, two torches
crossed. This should not be mistaken for the Dresden crossed
swords.
A
X
subsequent mark resembles the heraldic charge, known as a
X
lance-rest. The factory was afterwards carried on by the firm of
Pouyat & Russinger, who used their names or initials as their
mark by Pouyat alone, about 1800
; and by A. Deltuf ;
subsequently.
mdiKU/ /o-cf urc
'
De la Courtille," 1773, by "De la Courtille."
Russinger & Locre.
PARIS: DAGOTY.
Established towards the end of the last century by P. H.
Dagoty. He styled his ware " L'Imperatrice." The mark is
generally stencilled in red. Dagoty subsequently combined with
the firm of Honore {q.v.') about 1812, under the patronage of the
Duchesse d'Angouleme. Another member of the family, R. F.
Dagoty, had a factory in the Rue St. Honore, date unknown.
3IO PARIS
Mamii-actiiinc
ie S^.M.l^Lmpeiratricc
P.LDAGOTV
a Paris.
Boulevard Poissionniere, 1780.
M'"' de MADAME
DUCHESSE D'ANGOULEME R. F. DAGOTY.
Dagoty E. Honore,
PARIS.
PARIS : DARTE.
A small factory of hard-paste porcelain was established in
the Rue de Popincourt in 1796 ; and there are some richly
coloured and well-gilt plates still extant, marked with the potter's
name, " Darte," stencilled in red.
Mr. H. E. B. Harrison possesses a cup and saucer marked
DARTE FRERES A PARIS.
PARIS: DECK.
Theodore Deck established a factory of artistic faience in
the Rue Halevy in 1859, and since that time his works at each
international exhibition have shown considerable progress and
gained distinction. The first copies of the famous Alhambra
were made by this firm and at the Paris
TOvase Exhibition, 1878, some remarkably fine plates were
;
shown by him. Our Art Department has purchased

XIX. Century, some of his fccent specimens, and they may be
seen at the Victoria and Albert Museum. The process of de-

coration is somewhat similar to the old Henri Deux ware, or
Saint Porchaire, as it is now generally called, and consists of the
incrustation of different coloured clays ; it is very effective, the
designs being mostly of an Eastern character.
Paris, Dihl (see Angouleme).
PARIS: DUBOIS.
A factory of hard-paste porcelain was
/v startedabout 1773 by Vincent Dubois.
Maik, two headless airows crossed, gener-
,. , c,
I'auliouri; St. A ,
•
Antoinc,
,„, ' => '
177 ;.
Riie'clc la Ri>quetle. "

ally in blue.
PARIS 311
Paris, Due d'Orleans (see Paris : Pont-aux-Choux).
PARIS: FEUILLET.
A richly decorated porcelain in imitation of Sevres. The
mark also is similar to that of Sevres, but has a capital F in the
middle of the reversed L's. Other marks are used, as shown,
and are generally in gold, but sometimes in black. This work
was carried on at No 20 Rue de la Paix.
J'ecuCUt
PARIS: GUY & HOUSEL (Rue Thirou).

MM. Guy & House! succeeded to the
fabrique of " Porcelaine
de la Reine " (see
Paris : Lebceuf). M. Housel was sole pro-
prietor from 1799 to 1804. Rue Thirou
Occasionally we find very richly decorated
specimens bearing this mark. A pair of semi-
a Pciris.
circular Jardinieres, formerly in Mr. Walker Joy's collection, had
flowers very carefully painted in richly ornamented trellis-work,
equal in every way to the best kind of hard-paste Sevres of the
same time.
Rue Thirou Porcelaine de la Reine, Gasnault coUectii
PARIS: HONORE.
Established by F. M. Honor6 about 1785 ;
subsequently
amalgamated with Dagoty {q-v.).
312 PARIS
PARIS: LASSIA.
Hard paste; established in 1774 by Jean Joseph Lassia.
L
L""^ Ruo <lc Keiiilly, 1774.
PARIS: LEBCEUF.
In 1778, Andr6 Marie Lebceuf commenced the manufac-
ture of a hard-paste porcelain, which he called " Porcelaine de
la Reine," Marie Antoinette being
AA///f T'OLI'
C/ wcV.v)
his
were
patroness. The productions
of great excellence, some of
the pieces being equal to Sevres.
It is almost impossible to avoid
Rue Thirou " Dc la Reine"
(Antoinette), 1 778, by A. M. Lebceuf. confusion between the porcelain
made and decorated by Lebceuf,
and that made at the Angouleme factory (17.^.). Queen Marie
Antoinette is said to have been the patroness of both, and Mr.
Chaffers has assigned to the Lebceuf factory the variously formed
initial ^
surmounted by a crown, which the author has given to
the Angouleme factory. The letter P^ without a crown is also
supposed to have been used by Lebceuf, and a monogram of

M. A. for Marie Antoinette with an S below. The marks are
generally stencilled in red.
PARIS: LEFEBVRE.
Chaffers mentions a potter
of this name having an estab-
as
lishment in Rue Amelot. The
author had a hnely painted pair
of plates with Cupids playing
games, on richly gilt ground,
and the mark Lcfebvrc a Paris
written in gold.
Specimen Plate, Cupids playing, on tjold
ground, marked in gold l.cfcbz'rr a
Paris.
PARIS 313
Paris, L'Imperatrice (see Paris : Dagoty).
PAKIS: MORELLE.
Hard paste ; established 1773 ; the letters in the
margin, generally stamped or stencilled, stand for MAP
" Morelle a Paris."
PARIS: NAST.
Apotter of this name purchased a manufactory of china in
the Rue de Popincourt, Paris, 1783, and adopted his name,
stencilled in red, as his fabrique mark. The paste is hard and
like most other Parisian porcelain, and the favourite decoration
seems to have been small sprigs of flowers on a white ground.
NAST. N. . .
aris
Paris, Petit (see Fontainebleau).
PARIS: C. H. PILLIVUYT ET C"=-, A PARIS.

The manufactory owned by this lirm is, according to Chaffers,
the largest in France, employing about 1500 workmen. Their
ornamental specimens are of a very high character, and vary
considerably in style. The finest specimen seen by the writer
is a large bottle purchased by the Vîctoria and Albert Museum
from their exhibit in Paris in 1878. It is of dark lustrous green,
and the effect produced by the varying shades of the colour is
very good. The mark is the name of the firm.
PARIS: PONT-AUX-CHOUX.
This factory was started in 1784 by Louis Honore de la
Marre de Villars. The mark used was J. M. In 1786 the
fabrique changed hands, and came under the patronage of Louis
Philippe, Due d'Orleans, and the mark used thereafter was his
monogram L. P., combined in various ways. After the Duke's
death in 1793, the factory was known as the " Fabrique de Pont-
aux-Choux."
314 PARIS
^rx" M
This mark most probably belongs to the same factory.
The monogram of Outrequin de Montarcy, cina 1786.
PARIS: PORCELAINE D'ARTOIS.

Th'xs, fabrique of hard paste, said to be the oldest in Paris, was
started in 1769 by Charles Philippe, Comte d'Artois, under the
direction of Pierre Antoine Hannong, or Hanung, of Strasbourg.
A small tcte-a-tcte service with this mark was formerly in the
author's possession.
CP
CP Rue Faubour;; St. Denis.
Paris, Porcelaine dk la Reine (see Lebceuf).
PARIS : POTTER.
In 1789, Charles Potter, an Englishman, established a factory
of hard-paste china. He called his ware " Prince of Wales'
China."
R E.B.
CP Potter Rue dc Crussol.
Riie dc Cnissol, 1789.

PARIS— PERSIA 315
PARIS: SAMSON.
A maker and decorator of French porcelain and faience of
this name, merits special mention here, while numerous other
Parisian firms are unnoticed, because some of his figures are
remarkably original and clever. His mark, as given
here, is frequently used by unscrupulous dealers to
deceive amateurs, and his productions are sold as
"old Dresden."
Samson also makes exceedingly clever imitations
of all the rarer and more precious descriptions of
Oriental porcelain, and many have been deceived by his pro-
ductions. The mark given here was that used upon the
" Dresden " specimens, but he imitates more or less successfully
not only specimens of Crown Derby, Bow, Chelsea and many
of the Continental fabriqiies, but also copies their marks. His
manufactory is probably responsible for more disappointments on
the part of young collectors than any other half-dozen makers of
spurious china grouped together. See also notes on this manu-
facturer in Chapter VI.
PARIS: SCHOELCHER, also SCHOELCHER ET FILS.

This name, written in small cursive characters in red and puce,
is to be found on some excellent white and gold dessert services,
and on some well-painted plates with richly gilt borders. It is
doubtful whether the firm were porcelain makers or only dealers.
Pavia (see Majolica).
Pennington, potter (see Liverpool).
PERSIA.
In a volume published by the South Kensington
little
authorities, and entitled Persian Art, Major Murdoch Smith,

R.E., gives much useful information which his official position in
Persia has enabled him to acquire. He tells us that ceramic art
has existed from a very early date in Persia, and in his illustrated
description of the collection in the Victoria and Albert Museum, he
divides Persian ceramics into seven different classes. A pecu-
liarity which he notices, and which is observable in many
specimens, is that the pottery was almost always made for
use, and though the rice dishes, bowls, and jars are highly
decorative, they were not meant merely for ornament.
3i6 PERSIA
Both Jacquemart and Chaffers doubt the existence of porcelain
of Persian manufacture but some ;
bowls in the Henderson collec-

tion now
arranged in the British
Museum, leave little doubt that
porcelain of a high quality was
known there, though whether it
was really native to Persia is
doubtful it is more probable
;
that was a special class of ware

it
imported from China, and that it

obtained its name of " Gombroon
ware " from the fact of its coming
through that port of the Persian
Gulf.
Narghili-stand of Persian porcelain, green ^" J^Cquemart's philosophical

ground, with shaped panels (collection Study of the Subject, he traces
of M. Dutuit, Rouen).
Ewer of Persian porcelain, polychi lion (Coll. Sechr.in).
each style of decoration to a religious source, different sects

departing more or less from the proscribed law of representations
of men and animals, a kind of decoration forbidden by the original
canons laid down by Zoroaster. The modern productions of
Persian factories are very poor, the time of highest excellence
•/^-'
PERSIAN.
k 13TH-16TH Century.
>.
ICTORIA AND Al.BERT MUSEUM.
H
PERSIA 317
having been during the reign of Shall Abbas, 555- 1628, who
1
appears to have been the Grand Monarqiie of Persia, and to have

decorated his palace at Ispahan with national pottery. Several
specimens of this, the Renaissance period of Persian art, are in-
cluded in the Salting bequest in the Victoria and Albert Museum.
In the Henderson collection, before alluded to, there will be
found some most interesting specimens of the twelfth, thirteenth,
fourteenth, and sixteenth centuries, and the collection also in-
cludes many pieces of Damascus and Rhodian ware, tlie latter
being rightly classed, according to Jacquemait, with Persian cera-

mics his suggestion being, that the manufacture of artistic pottery
;
at Rhodes was brought about by the capture of a vessel contain-

and moulds, which fell into the hands
ing Persian potters, material,
of the famous Rhodian knights, who had joined the Christians in
the war against the Mussulmans.
The decoration of Persian ware is generally floral, carnations
and hyacinths being favourite subjects the cypress, too, is fre-
;
quently introduced inornament. The colouring is very artistic

and striking, the pigments having somewhat the appearance of
vitreous enamels. Some of the tiles in the Henderson collection
are ornamented with texts from the Koran in high relief. Of tiie
illustrations given, that of the Ewer and Narghili-stand are of the
earlier Persian work, and that of the tile, with equestrian figure,
of the later period. Some fresh information respecting Persian
pottery be found in the thirteenth edition of Chaffers,
will
contributed by Mr. C. L. Hobson, who assisted the author in
revising and editing that portion of the work.
3i8 PERSIA
These marks are mostly given on the authority of Dr.
Fortnum {Catalogue of the Victoria and Albert Museum, pp. 12,
13). The principal collections of Persian faience in this country
are those of Mr. Du Cane Godman, the late Sir A. Wollaston
IVisiaii Wall Tile, decoralion in slight relief, XVII. century (Victoria and Albert Museum).
Pranks, Dr. Fortnum, Mr. George Salting (whose collection is

now part of our national treasures at South Kensington), and
the Henderson collection at the British Museum.
Pesaro (see Majolica).
Petersburg (see St. Petersburg).

PINXTON 319
PINXTON, East Derbyshire.

The establishment of a cliina factory liere was due to John
Coke, Esq., an ancestor of Colonel Talbot Coke, who, during a
residence at Dresden, had acquired a taste for artistic pottery, and
finding upon his family estate some suitable clay, secured the
services of Billingsley, the celebrated flower-painter of Derby.
BiUingsley possessed a recipe for porcelain-making, and a small
factory was started in 1796, which produced some fine pieces,
similar to the Derby porcelain, and as a rule having no mark.
The pieces decorated with views of different country seats in
medallions, on canary ground, are often mistaken for unmarked
Pinxton Ice-pail (Victoria and Albert Museum).
Derby china, but may generally be ascribed to the Pinxton factory

when the paste is greyer and coarser in texture than that of Derby.
A disagreement between Coke and Billingsley took place about
1 800-1 802, and the latter left afterwards to work at the Worcester
factory, and subsequently assisted at those of Nantgarw and
Swansea (see notices of these factories). Mr. Coke continued the
works at Pinxton with other help, but without any great success,
and they were closed in 181 8.
Mr. Jewitt quotes an interesting fact respecting this factory.
Payment to the workmen was made in china tokens, having the
sum represented stated on the round fiat piece of china this ;
china-money passed current in and about Pinxton, and was

known as " Mr. Coke's coin."
320 PIRKENHAMMER— PLYMOUTH
Specimens Pinxton are generally unmarked, but when they
of
are, the cursive P
given below is that most frequently found, and
the formation of the letter varies. Specimens occur with the
word " Pinxton " in full, and there is at least one dessert service
known to the author with landscapes in medallions on each piece,
having the mark in puce given below of a crescent and star.
f C^
PIRKENHAMMER, near Carlsbad.
Factoryof hard-paste porcelain, founded in 1802. The
earliermarks are unknown. Christian Fischer became the pro-
prietor in 1 81 8, and used his initials as a mark. The firm
afterwards became Fischer & Reichambach, when the mark was
changed to F. & R. (see Bohemia).
C.F.
Christian Fischer.
F&R Fischer
SS.K
& Reichambach.
Pisa (see Majolica).
PLYMOUTH.
William Cookworthy, like Bottger, the first of European
porcelain-makers, was a chemist's apprentice. He had acquired
a thorough knowledge of his business in London, and started
on his own account in Nutt Street, Plymouth ;
and in a
letter, dated 1745, to a friend and customer, he first mentions
the importation of both the kaolin and petuntse, necessary for
the manufacture of porcelain, from Virginia. After this he seems
to have taken up the matter thoroughly, and to have made in-
vestigations in many parts of Cornwall in search of the elements
necessary for the making of china. These efforts were successful
in 1754-55, when he discovered at Boconnoc, the family seat of
Lord Camelford, both a white plastic clay, and a kind of moor
stone, or granite, which, if pulverised, would form the vitreous
property required. The proprietor, Lord Camelford, took the
matter up con amore, and assisted Cookworthy with funds and
interest. A patent was taken out in 1768, and the Plymouth
PLYMOUTH 321
manufactory — the
first English factory to make china from nalive
materials — came
prominently before the public. Cookworthy's
chemical knowledge was of great assistance in the manufacture
of colours, and he was the first to produce the cobalt blue
direct from the ore. Advancing years, and the great expense
incurred in making continual experiments for perfecting his in-
vention, prevented the concern being conducted on remunerative
principles, and after removing to Bristol Cookworthy sold his
patent rights and plant to a cousin, Richard Champion, in lyyq
(see Bristol).
The paste is hard, and some of the white pieces have a beautiful
Sweetmeat-stand of Plymouth porcelain, white shell work.
glaze something like polished ivory, only of a milky white, instead

of yellow. Groups of shells, with limpets, cockles, and escallops,
were very favourite patterns ; shells arranged in tiers, for oysters,
it is supposed, and smaller ones for pickle-stands, both in blue
and white, and natural colours, are also to be found.
Birds and flowers were painted on some of the cups and
saucers and vases, by a clever French artist named Soqui whom
Cookworthy engaged from the Sevres manufactory, and Henry
Bone, a native of Plymouth, one of Cookworthy's apprentices,
is credited with the painting of the exotic birds in favour at the
Worcester factory.
Some of the figures made at Plymouth are cast from the
same moulds as those of Bristol. This is the case with some
of the models representing the quarters of the globe. Mr. W.
X
322 PLYMOUTH — PORTOBELLO
Cree, of Edinburgh, has a very important set of three of these
which were formerly in Mr. F.
figures,
J.
Thompson's collection,
and Mr. Alfred Trapnell has a complete set of four.
These marks are generally in red.
Poland (see Korzec).
PORTOBELLO, Midlothian, Scotland.

Some little confusion about Portobello pottery seems liable
to arise, since " Portobello ware " is mentioned in Mr, William
Burton's work on English Pottery as having
SCOTT been made in Staffordshire to commemorate

the taking of Portobello in Spain by Admiral
BROTHERS.
Vernon in 1739. There are many pieces of
pottery in existence connected by some legend
with this historical event, but the Portobello
SCOTT
ware to which attention is called in this notice
was made at a group of potteries which
ffi thrived at Portobello for some time, from
about the end of the eighteenth century
until 1845—54. In the Annals of Diiddingston and Portobello,
by William Baird, there are accounts of several makers, with
illustrations of pieces identified with their work, and judging
from these it must be exceedingly difficult to separate them from
ordinary Staffordshire pottery of the same time. Mr. Baird
quotes the Florentine Lion, with a paw on a ball, a watch-case
in the form of a miniature clock, with fis'ure of Britannia sur-
PORTOBELLO— QUIMPEK 323
mounted by a crown, also a group of a cow with calf, as Kath-

bone's ware, Portobello, about 1820.
Chaffers mentions the work of Scott Brothers as marked with
the name Scott, and a monogram as in the margin.
There has been some revival of late years, in the shape of
work of an effective decorative character, generally in green and
red colours, at potteries in this district it is on sale in the shops
;
of Edinburgh.
Portugal (see Caldas).
PRAGUE.
Specimens of faience with a good glaze, generally decorated
with peasant figures and landscapes, have been occasionally seen
by the author, with an impressed mark " PRAG." . .
There is a modern porcelain factory carried on ]

IS. ^ C»
by MM. Kriegel & Co. (see Bohemia). I PRAG
Pratt's Ware (see Fenton).
PREMIERES, NEAR Dijon.

The manufacture of faience was started here by a brickmaker
named Lavalle. The works are still carried on by his descendants.
F)
0S3 Z-^- r (/ ,
-
I
I
Lavalle. .\IX. ^Century.
QUIMPER.
Glazed stoneware and faience, of recent date, in the style of
old Rouen ware, is made here by La Hubaudicre & Co. The
marks are as follows : —
^
324 RAUENSTEIN— RHEINSBERG
A pottery is said to have existed here, long before the time of
the present firm, but little is known of it.
Raeren Stoneware (see Cologne).
Ratisbon (see Regensburg).
RAUENSTEIN, Saxe-Meiningen.
This small factory of hard-paste porcelain was one of the least

of the Thuringian group, and save for collectors of marks there is
Httle of interest concerning it. Only table-ware was produced.
The marks given below are found in different colours, blue, red,
and purple, the R-n being the one most often seen. Sometimes
dots and sometimes dashes separate the two letters. It was estab-
lished by a member of the Greiner family about 1780, and is

still a going concern. In sequence the marks may be taken as
follows: first the R, then the R-n, and after 1800 the two
crossed hooks accompanied by the R— n.
K ^
*
R -n
71-
Ravenna (see Majolica).
REGENSBURG, Ratisbon.
Mr. J. A.
Schwcrdtner has a porcelain factory here. In the
last century, earthenware of various kinds and " Gres " stoneware
were also made here.
Heine, Porcelaine de la (see Angouleme and Paris:

Lebceuf).
RHEINSBERG.
This mark is given by Herr Jannike for the
faience made here by F. Hildebrandt.
RHODIAN FAIENCE 325
RHODIAN FAIENCE OR POTTERY.

The pottery Rhodes, Damascus, and Anatolia belongs to
of
the Turkish school. M. Jacquemart relates a story, the truth of
which has been questioned by so eminent an authority as the late
Dr. Fortnum, of the capture by the Knights of Rhodes, during an
expedition against the Mussulmans at the time of the Crusades,
of a vessel which was carrying from Iran a cargo of fine pottery,
and also a number of potters who understood the mystery of its
production. A pottery was thereupon established in the Isle of
Rhodes, from which, he contends, the examples in the JMusee
Cluny were produced.
We have no means of establishing or refuting this romantic
but rather doubtful theory of the origin of Rhodian pottery, but
we can readily recognise as a distinct class of decoiative ware
that which is known as Rhodian. It is of ct)arse body with a
thick glaze, the decoration being, as a rule, sprays of flowers,

generally carnations, with spiky leaves spreading over the surface
of the plate, jug, or tile, and sometimes the stems of these sprays
fastened together. A brownish-red colour is a favourite pigment,
laid on so thickly as to stand out from the white ground in slight
relief. Sometimes geometrical patterns are employed, as in one
of the plates illustrated. Green is also a favourite colour. The
borders of such plates are generally decorated in black designs.
Anatolian ware is, in decorative treatment, similar to Rhodian,
but the paste is whiter, the glaze less thick, and the plates and
small round dishes which we have seen, are generally less clumsy.
A place named Kutakia in Anatolia is credited with being the
source of this kind of pottery. Some good specimens are in
the Salting bequest.
Rhodian pottery is every effective, and groups of four or five
plates or round dishes, make an excellent mural decoration, where
the style of the room is of the period harmonising with this kind
of decoration —that is, from the fourteenth to the sixteenth
century. The best collections of Rhodian pottery are those of
Mr. George Salting in the Victoria and Albert Museum, Mr. F.
Du Cane Godman, F.R.S., Dr. Fortnum, lately bequeathed to the
Ashmolean Museum at Oxford, and the Henderson collection in
the British Museum. We are enabled to give a faithful repre-
sentation in facsimile of a fine Rhodian ewer in the Victoria and
Albert Museum.
326 RIDGWAYS
The South Kensington authorities, in their recent arrangement
of this class of pottery in the Salting bequest, have abandoned
the title " Rhodian," by which we have known this description of
ware for so many years, on the ground that the proofs of Rhodes
being its proper source are unsatisfactory, and the glass cases
which contain this portion of the Salting collection are labelled

" Turkish and Syrian ware." They do not, however, assign any
particular province or district of the Turkish Empire as the
actual place of production, and therefore we may perhaps still be
permitted to entitle this notice "Rhodian" until there is more
definite information available.
The writer of the Salting catalogue says there is a distinction
to be made between the pottery called " Rhodian " and that of
Damascus, use of two different pigments.
in the The brilliant
scarlet found floral decorations of plates, jugs, and tiles
in the
indicates " Rhodian " work, whereas the use of purple produced
from manganese, points to the ware being made at Damascus.
At the present time the pottery at Algiers is making good
copies, both as to form and colour, of this old Turkish or Rhodian
pottery. They are inferior in many respects to the old ware, but
are highly decorative. These productions are marked £4lger.
RIDGWAYS.
The
firm of Ridgways at Shelton, Staffordshire, has been noted
for good work for upwards of a century. Job Ridgway, the
founder, was one of Josiah Wedgwood's apprentices, started on
his own account in 1794, and built the works known as Cauldon
Place in 1802. Later the firm was John Ridgway & Co., and
absorbed several of the businesses of other Staffordshire potters,
including those of Elijah Mayer, Palmer & Wilson (see Neale),
Meigh & Johnson, Toft & May, and G. & T. Taylor, the com-
bination trading under the title of Ridgway, Morley, Wear & Co.
Collectors who affect those covers of paste pots ornamented
with landscapes and subjects in coloured will be in-
transfer,
terested to learn that the making of these was one of Ridgway's
specialities, about 1840-50. The firm also made a good class of
earthenware with a semi-translucent body similar in many re-
spects to Mason's ironstone china. John Ridgway was appointed
potter to her Majesty Queen Victoria. In 1855 Messrs. Brown,
Westhcad, Moore & Co. took over and still carry on the business,
which has a good reputation for high-class domestic ware, and
turkish, generally known as
Rhodlan Faience.
Jug 15TH-16TH Cenh-rn.
\'lCTORL\ ami Ai.HERT MUSEUM.
(
'P.
'A
I
ROCKINGHAM 327
received the Grand Prix at the Brussels International ICxliiliition,
1910.
The mark of RIDGWAYS occurs in various forms, and some-
times the initials
J.
W. R. with such words as Stone China,
India Temple Stone China, and sometimes a crown sur-
mounting an oval containing the initials J. K. (see also Neale &
Co.).
Rochei.le (see La Rochelle).
ROCKINGHAM.
In the year 1745 a manufactory of pottery was established
at Swinton, near Rotherham, in Yorkshire, on the Marquis of
Rockingham's estate. Various kinds of earthenware and stone-
ware were made, but the principal output was that of chocolate-
brown tea and coffee services, &c., commonly known as " Rock-
ingham ware."
One of a pair of richly decorated Rockingham flower-pots formerly

in the author's possession.
The factory passed through several hands, until in 1807 it

was carried on by Messrs. Brameld. A portion of the original
works is now occupied by one of their former employes, Mr.
Baguley. The manufactory was specially celebrated for its
tea-pots, which were said to have the valuable quality of ex-
tracting the full flavour of the tea. In 1823 the mark of a
griffin was adopted, it being the Rockingham crest, but the words
Rockingham and Brameld are also found, the latter sometimes
in a blue-coloured cartouche.
328 ROCKINGHAM— RORSTRAND
A considerable quantity of the table ware was made for
Messrs. Mortlock of Oxford and stamped with their
Street,
name. Excellent porcelain services and figures were also made
here, generally carefully painted in flowers on a fine clear white
ground as a rule figures are unmarked.
;
ROCKINGHAM,
B RAM ELD.
i/locJiinqJiamrfori^ .
There is a remarkable Rockingham vase, over 3 feet high, in

the Ceramic Gallery of the Victoria and Albert Museum.
Rome (see Majolica).
RORSTRAND, near Stockholm.

A company was started in 1726, under State patronage, for
the manufacture of earthenware of various kinds.
The general characteristics of all the old Swedish potteries
are similar. As in the first instance the art seems to have been
imported from Delft, such early specimens as are in the Museum of
Stockholm have the appearance of the older Delft ware. This
first period lasted from 1726 to 1759.
The second period may be said to have commenced with the

adoption of the stanniferous glaze, an enamel composed with
oxide of tin, in 1760, and to have lasted for about twenty years.
During this later period, faience in the style of old Strasbourg and
Moustiers was produced, although on some pieces one finds the
decoration influenced by local colour, such as the costumes of
Swedish peasants.
The faience made at Rorstrand, at Marieberg, at Stralsund
(which formerly belonged to Sweden, but was afterwards annexed
by Prussia), and at Kiel, is all so alike that without a distinctive
mark they cannot be distinguished. Wedgwood ware was also
imitated by these factories.
In the large edition of Chaffers, more detailed information as
to these Swedish factories will be found.
RORSTRAND— ROUEN 329
Jiar^huLm -îjî
D. Hillberg, painter.
Established 1726.
/J^
//^
8
c/3S.
<.ôrjt
't
A. Fahlstrom, painter.
The marks consisted of S. or

early
St., for " Stockholm " in
Stockholm, or
full, generally with the date, and initials
of the painter or master-potter. After
the foundation of the rival factory at
Marieberg, which is also in the neighbour-
hood of Stockholm (see Mariebekg), the
word Rorstrand, sometimes abbreviated,
was substituted for that of Stockholm.
For a short time about 1759 both words
were used. /2 ^
ROUEN (Dept. Seine-Inferieure).
A manufactory of artistic pottery was flourishing here in the

sixteenth century, and will be found noticed in Chapter II. as one
.Shoe of Rouen faience, bhie and wliite decoration.

330 ROUEN
of the principal ceramic factories that existed in France when
the wave of art from Italy. When Louis XIV.,
rolled thither
straitened for money to carry on his wars, sent his plate to the
mint, he had a service of Rouen faience made for his use, and
this was marked with the fleur-de-lis. This was in 17 13, but
there are in existence beautiful specimens marked with a date
as early as 1542. Two of the most remarkable were formerly
Ilelniet-sh.iped Ewer of Rouen faience.
at Orleans House, Twickenham. They were pictures composed

of 238 tiles joined together and framed, and painted in repre-
sentations of Mucins Scasvola, and of Curtius jumping into the
gulf.
There are extant in theMuseum and elsewhere
Sevres
beautiful specimens of this ware, and in the bust of Flora on a
high pedestal, which was presented by the late Duke of Hamilton,
our Victoria and Albert Museum possesses one of the best.
ROUEN 331
Jaidinicie or Sceau of Rouen faience (Victoria and All)ert Museum).
The marks of the fabriqnc are very numerous, and many

would appear to be only painters' marks. A great many of
these will be found in tiie large edition of ChafTers' Marks and
Monograms.
A ROUEN
1542
R
XVIII. Century.
Porcelain. —The manufacture of soft-paste porcelain at Rouen

is whose family had been connected
attributed to Louis Poterat,
with the making of earthenware for many years, and there are in
the Victoria and Albert Museum some plates of Rouen faience
decorated with the arms of the Poterat family, who were lords or
seigneurs of the district.
The date generally attributed to the first achievement in the
way of porcelain, by Louis Poterat, about 1673, and if so it was

is
the first so far as France is concerned, the Medici porcelain of

Florence being a few years earlier.
332 RUDOLSTADT— ST. AMAND-LES-EAUX
Specimens of this Rouen porcelain are extremely rare the —
only piece known to the author is the charming tall cup in the
Fitzhenry collection recently presented to the Victoria and Albert
Museum. It is unmarked. The mark of A. P. with a star, which
is the mark attributed to this factory, has not been identified.
The factory is believed to have closed in 1696 owing to the
successful rivalry of the St. Cloud factory.
RUDOLSTADT (see Volkstedt).
The mark of a hayfork single and crossed with another, was

formerly considered to be the mark of Rudolstadt. On the
authority of Graul and Kurzvvelly's work on Thuringian factories
this is now assigned to Volkstedt, and it would appear that there
was no factory actually at Rudolstadt, but that the name was
given because this place was the seat of the government of the
Principality of Schwarzburg-Rudolstadt.
Rue Thirou (see Paris).
Russia (see Moscow, and St. Petersburg).
Rye, Sussex (see Cadborough).
ST. AMAND-LES-EAUX, NoRD, France.

A manufactory of faience was founded here about 1740,
which belonged to M. Fauquez, the re-founder of the works at
Valenciennes (q-v.). The manufacture was continued up to the
time of the Revolution, when it was for a time abandoned, and
Fauquez was forced to emigrate. The fabriquc was subsequently
revived, and was in active work in 1807. The mark is said by
Dr. Lejeal to be an imitation of that on old Sevres, but the re-
semblance is more apparent than real. The cypher consists of
the interlaced initials of Fauquez and his wife, a sister of Lamon-
inary of Valenciennes. The first one also contains the letter A,
for St. Amand, while the second has the letters S. A. at the sides.
Other marks attributed to this fabriquc. by various French and
German authorities will be found in the eighth and subsequent
editions of Chaffers' Marks and Monograms, revised by the author
of this work.
The manufacture of soft-paste porcelainwas tirst attempted
in 1 77 1 by Fauquez, who having sought permission was re-
ST. AMAND-LES-EAUX— ST. CLOUD 333
fused by the Government on the ground that St. Amand was

a free town. However, he appears to have persevered in his
enterprise, and to have made a soft paste similar but somewhat
inferior to that of Sevres until 1778, when owing to the rivahy
of the Tournay factory he ceased his efforts and reverted to his
business of faience manufacture. Specimens of tlie Fauquez period
of porcelain are seldom seen, and one has to be content with
descriptions.
In 1800 the proprietorship of the factory passed to a M.
Maximilien de Bettignies, who was in 1815 succeeded by his
son and afterwards by his grandson. As late as 1873 members
of this family were directors, and in 1894 there was a manager
named Miquet. This porcelain attained a medal at the 1851
London Exhibition. The porcelain made since 1800 is similar
to that Tournay, and has been largely used for purposes of
of
re-decoration, passing as genuine old Sfevres. It should not
deceive an experienced collector, because the paste is not so good
in quality, nor so white as that of Sevres it is, however, soft,
;
and those who have decorated it have copied the style and
colourings of original Sevres specimens.
The marks are similar to those on the faience, and it be
will
seen that one of these is a colourable imitation of a Sevres mark.
The fabrique marks used during the later period are the
monogram S.A. in blue and a seal in relief with the letters S.A.
c/
St. Cenis (see Sinceny).
ST. CLOUD, France.

A factory of both faience and porcelain was established here
in 1690, by the Chicanneau family. The mark was "St. C,"
and after 1722 the initial "T" underneath, as in that year Henri
334 ST. CLOUD
Trou became director. The claim of St. Cloud to have first
produced soft-paste porcelain in Europe is challenged by Florence

and Rouen, but it was undoubtedly the parent of the
St »-T—«
celebrated Sevres manufactory.
Louis XIV. had become especially
having a national porcelain factory, and had already
desirous of
1 granted royal letters and concessions to many specialists

Trou, 1/22. who claimed to have discovered the secret of making
true porcelain. Chicanneau introduced this invention about
1695, and his fabriqiie mark was a sun.
At his death, which happened about
1700, the works were conducted by
his widow and children, to whom he
had imparted his secret. Owing to a
second marriage of the widow, dis-
agreements ensued in the family, which
Blue and while salt-cellar of
St. Cloud porcelain.
separated, one branch of it opening a
rival establishment.
The St. Cloud factory was burned down in 1773 by an incen-
diary, and not being rebuilt, for want of funds, the manufactory
ceased.
The paste of St. Cloud porcelain is similar to that of Mene9y
but somewhat thicker and clumsier, and not as free from
spluttering in the firing. The decoration is generally quite
simple, such as sprigs of flowers in the style known as " Kaki-
yemon," and the colouring mostly blue, but sometimes red on
creamy-white ground. There are several specimens in the
F"ranks collection, and the Victoria and Albert Museum has
recently been enriched by several good pieces included in the
collection of soft-paste porcelain at but since presented
first lent
to the nation by Mr. Fitzhenry. Of the marks given below, the

earliest is the "St. C." without the letter " T," then the "Sun,"
which was used from 1696 to 1722, afterwards the "St. C."
with the initial letter for Trou. The fleur-de-lis is also an
earlv mark.
These marks of the "sun " occur in endless variety, more or less roughly drawn.
ST. CLOUD— ST. PETERSHURG 335
s:c
^4^ T
/-^t
Trull, 1730-1762.
Tlie following additional marks are given on the autliority

of MM. de Chavagnac et de Grollicr: —
*
T T
• S c
B
<Ib S S.
J
f 'S- £E *? /^ £. A
.C. ^ ^ >t J)- ^ 7 -D j f* f
ST. PETERSBURG.
Porcelain has been made here under imperial patronage since
1744 ;
is said to have been
the paste and style of decoration
founded on that of Dresden, but specimens known to the author
have more resemblance to Berlin china than to Dresden. A
tea service at Knole, Sevenoaks, is of fine quality porcelain,
white, with only gilding as a decoration. Lady Sackville has a
very curious drinking-cup formed of a female head with lustre
decoration, which is certainly of Russian, and either of Petersburg
or Moscow manufacture. The mark is generally the initial of
the reigning Czar or Czarina, surmounted by an imperial crown.
There are several specimens in the Victoria and Albert Museum,
and also in the Franks collection at present in the Bethnal Green
Museum. Some of the figures in the costumes of Russian
peasants are of much interest.
Established 1774.
<; s
Cypher of Catherine II.
336 ST. PETERSBURG— SAINT PORCHAIRE
£
n-.K. Initial of Emperor Paul, 1706-1S01.
Initials ofEmpress Catherine
II., 1762-1796. Paul
Korneloffe, maker.
6
Emperor Alexander I.,
1801-1825. Emperor Nicholas, 1825-1855.
BPATbEBl.
KopHHAOBblXlj
Cît Korneloffe Brothers.
Established 1827.
Emperor Alexander II.,
S. T. Kuznetsoff.
1855-
(Zaboda means works
or manufactory.)
Pottery was probably made here in the last century, but

we have no particulars of it.
SAINT PORCHAIRE or HENRI DEUX.

In the chapteron Medi;eval and Renaissance pottery some
observations have been made upon this peculiar faience, the
most valuable and delicate of ceramic gems. There are, so far as
we know, now in existence si.\ty-five specimens of this coveted
fahriqiic, and in the larger edition of Chaffers' Marks ami Mono-
grams, a table is given showing the number of specimens in
France, England, and Russia, and also the different collections
through which several of tlie specimens have passed during the
SAINT PORCHAIRE— SAINTES 337
last few years, together witli a list of the prices realised. Our
Victoriaand Albert Museum has no less than six good specimens,
which were acquired at prices which are very low compared with
those realised at recent sales. They are lent by Mr. Pierpont
Morgan. These six pieces cost _^2430,
whereas at the sale (in June 1 899) of the col-
lection of M. famous Paris expert,
Stein, the
—
two specimens a bibcron or ewer, and a
salt-cellar —
realised the enormous sums of
^2000 and ;^8oo respectively. The Salting
bequest includes a fine tazza of this rare
faience it is ornamented with the interlaced
;
crescents of Diane de Poitiers ; it cost its
late owner ^1500. This brings the number

on view to seven.
Porchaire is the recent name
Saint
which, on the authority of M. Edouard
Bonnaffe, has been adopted. It was formerly
known as Henri Deux or Oiron ware. There
is no fabrique mark, and the quaint devices
given in Chaffers' Marks and Monograms are

heraldic ornaments and part of the decora-
Saint Porchaire Candlestick
tion. These decorations are in the true (Victoria and Albert Museum).
Renaissance character of the time of Fran-
cois Premier and Henri II. The date of the ware given by
Chaffers is 1520-50, and those collectors who can afford to
purchase costly specimens of Saint Porchaire faience would do
well to consult the table of specimens in his work referred to
above. Unless a specimen can be traced as one of these sixty-
five, it should have an independent pedigree which will stand the
test of verification.
SAINTES, France.
This place, near Rochelle, was the scene of the struggles,
the failures, and finally of the success, of the world-renowned
Bernard Palissy, and here he produced those curious dishes,
plates, and vases which have rendered him so famous. This
remarkable man was born, about 15 10, at La Chapelle Biron,
a small village between the Lot and Dordogne in Perigord. Of
poor parentage, he seems to have had a natural thirst for know-
ledge, to which want of means was but a slender barrier, for he
Y
338 SAINTES
found time to visit the chief provinces of France and Flanders. He
married in 1539, and settled in Saintes as a glass painter and land
measurer, and some years later, happening to observe a beautiful
cup of enamelled pottery, he seems to have been seized with an
enthusiastic desire to become a potter, and henceforth to have had
no other end in life but to discover the secret of a fine enamel.
Beyond a knowledge of glass manufacture he possessed no other
technical information, and therefore set about his task under con-
siderable difficulties. Experiment after experiment only resulted
in disappointment, and the whole of his savings and the principal
part of his scanty earnings were devoted to the object he had so
enthusiastically set his mind on attaining. The complaints of his
wife, and distress of his home, could not deter him from the keen
pursuit of what appeared to all his friends and neighbours a hope-
less task, and at length, after discharging his last workman for
want of money to pay wages, and parting with every marketable
chattel he possessed, he actually burned the floor boards of his
house in a last attempt to make a successful firing. For sixteen
long years victory was denied to this zealous potter, but, tardy as
it was, it came at last, and Palissy had the delight of removing
from his kiln, a comparatively perfect specimen of the enamelled

earthenware with which his name has been identified. The sub-
jects he elected to illustrate are well known : reptiles of every
variety, in high relief and of wonderful fidelity to nature, were
the strong points of his decoration, though figures and flowers
were occasionally introduced. His fame soon spread, and ob-
tained for him the patronage of Henri II. of France, who gave
him liberal commissions and protection. In religion, as in art,
Palissy was earnest and conscientious ; having embraced Pro-
testant principles, he was proscribed by the edict of the Parlia-
ment of Bordeaux in 1562, and, notwithstanding the personal
influence of the Due de Montpensier, was arrested, and his work-
shop destroyed. The King claimed him as a special servant in
order to save his life, and subsequently he only escaped the
massacre of St. Bartholomew by court protection. At the age of
eighty, however, he was again arrested and confined in the Bastille,
and, after again and again refusing to sacrifice his religious prin-
ciples, though once, it is said, personally urged to do so by the
King (Henri III.), he lingered on in prison until 1589, when he
died, a martyr, like so many others of his time, to the Protestant
faith. That he was a naturalist as well as a potter, his excellent
representations of reptiles and insects can leave no doubt, and
SAINTES— SALT-GLAZE WARE 339
it is worthy of remark, that these natural objects are, without

exception, national; his celebrated Marguerite daisy ornament
was adopted out of compliment to his Protestant
in all probability
protectress, Marguerite of Navarre.
Palissy had many imitators and pupils, and the manufacture
of Palissy ware was continued until the time of Henri IV. A
plate, with a monarch and his children, is
family group of this
in the Louvre,and has been repeatedly copied.
Palissy ware bears no mark. Genuine specimens can be dis-
tinguished from imitations, by the lightness and elegance of their
make, combined with the crispness of finish, and the excellence of
the modelling. The imitations are heavy and lumpy. The Musee
du Louvre is very rich in specimens of good Palissy ware, and there
are some good examples in the British Museum. It will be within
the recollection of some of our readers that when, about fifteen

years ago, the sale of the Narford Hall collection took place, and
the Government grant was not available to add representative
specimens to our national collection, a syndicate of amateurs and
dealers was formed to guarantee a sufficient sum of money to
purchase some Palissy, Majolica, and Limoges enamel, from this
magnificent collection. A good selection was made and was
afterwards taken over by the Government.
MM. Delange and Borneau's illustrated volume, LCEuvres de
Bernard Palissy, should be consulted by those who take special
interest in Palissy ware.
Saintes, in addition to being famous as
the scene of Palissy's work, seems to have |-j ^
had other M. Jacquemart men-
potteries. ' • '
tions those of Grouzat, Deioye, and Rochez, t .

M r^
and both he and Chatters mention a hunt- *i.)
ing-flask decorated with roses and tulips, ^ SA.\.Y\feS
having on one side, within a wreath, the 1 r cc o
name of the owner, and on the other an
inscription of which the above is a copy.
Salopian (see Caughley and Coalport).
SALT-GLAZE WARE.
The following story is told as to the discovery of the salt-glaze
process. Some brine boiled over and ran down the sides of a
common brown earthen pot ; this pot becoming red-hot, the
340 SALT-GLAZE WARE
brine formed a glaze when cool and dry. Professor Church,
however, has demolished this little romance, by showing that the
common earthen pot could not have withstood the high tempera-
ture necessary to bring about the chemical action capable of
achieving such a result. More probably the famous potters, the
brothers Elers, brought the secret to England with them about
1688, and it soon became known and put in practice in Burslem,
which was the chief centre for this kind of ware.
The chief peculiarity about true salt-glaze ware is, that owing
to the high temperature, which, as we have just noticed, is neces-
sary in its manufacture, the body of the ware must be of a com-
position to stand this heat without softening such a body, when
;
fired to secure the glaze, becomes partially vitrified, and the result
is stoneware. Professor Church has noted, in his English Earthen-
ware, that when microscopically e.xamined, stoneware shows a texture
similar to true porcelain, as distinct from earthenware or pottery.
Some of the Continental potteries, notably those of Germany,
in or near Cologne, and in Bavaria, also those of Belgium, or
Flanders, as the country which now includes Belgium was then
called, produced the salt-glazed stoneware at a very early period,
it has been said as early as the twelfth century (see notice under
Cologne).
There are some specimens in existence which bear the arms
of Amsterdam and of other towns, and of families in the Low
Countries, with dates of the latter part of the sixteenth century.
During the reign of Queen Elizabeth there was a petition from
one William Simpson, merchant, praying for the sole right of
importing the brown salt-glazed stoneware jugs which in those
days were so common.
The most popularly known of these jugs were those which
were narrow in the neck and wide in the belly, having a bearded
mask roughly moulded in the neck, called Bellarmines, after a
certain Cardinal Robert Bellarmine, who lived 1 542-1621, and
was hated by the Protestants of his day for his fierce opposition
to the reformed religion. Brown stoneware jugs of different
capacities were in common use in Queen Elizabeth's time, to
serve ale to customers in the alehouses of the period, and a great
many have been discovered at different timts in the excavations
made in and near London and also in the provinces.
To this class of salt-glazed stoneware belong those charmmg
mottled brown jugs with cylindrical necks which when they have
silver mounts of the time of Queen Elizabeth, are now so highly
SALT-GLAZE WARE 341
prized by collectors. There are six of these in tiie Victoria and

Albert Museum (one of them will he found illustrated in Chapter
II.), the dates of which from the Hall marks on the silver mounts
run from 1560 to 1600: but we do not know that the jugs
themselves are of English manufacture. It is probable that some
were imported.
In England, the honour of first making stoneware of this
kind is claimed for John Dwight, who obtained a patent in 1671
for his "mystery of transparent earthenware." The fine stone-
ware which he produced at Fulham, and of which we have
such excellent specimens preserved to us in the British and
Victoria and Albert Museums, was not exactly " porcelain," but a
material which Professor Church has happily christened a " por-
cellaneous " stoneware.
The coming to England of John Philip and David Elers, and
the foundation by them of potteries in Staffordshire, have already
been referred to and although it is very difficult to attribute
;
with certainty someof the specimens of the peculiar red ware,

made in imitation of its Chinese prototype, to these potters, still
some specimens which in all probability were their work are to be
seen. Professor Church is of opinion that they produced this
red ware for about twenty years, from 1692 to 17 10. The
business does not seem to have flourished, and the Elers
brothers abandoned their works in Staffordshire about 1710
or 17 I 2.
Their methods and recipes, particularly that for the salt-glaze
process, were adopted by others, and early in the eighteenth
century Staffordshire became the chief centre of salt-glazed
earthenware. One of the immediate successors of the Elers
was a potter named John Astbury, who by shamming lunacy,
gained admission to the works, and afterwards started a pottery
of his own, which in his son's time attained considerable popu-
larity. Many of the Astbury pieces are well worth collecting they ;
vary cream, and sometimes brown occurring,

in colour, red, buff,
and a design being in many cases impressed by means of a mould.
The relief or embossed appearance attained thereby is very success-
ful, the pattern being sharp and well defined. The cream ware
which Astbury first produced was adopted and improved upon by
Wedgwood, and an enormous business was developed. There
are several good specimens of this ware in the British Museum,
342 SALT-GLAZE WARE
Fine Cabinet Specimens of Salt-glaze.
The best pieces of salt-glaze ware, made from about

1720 to 1760, are among the daintiest products of the potter's
art.
It was during this period, from about 1740 to 1760, that
the decorative effect of this ware was vastly improved by the
introduction of colours painted inenamel and being in very
slight relief to the surface. Specimens of this time, and especially
those decorated with interesting portraits in colour, now bring
very high prices, ^25 and ^^30 being readily give at auction
for the tea-pot with portrait of King of Prussia. Chinese subjects,
birds and flowers one also finds very successfully rendered in
the enamel colouring on the cream or pale buff ground. After
1760 there is some decadence, and the more ordinary salt-glaze
cream-coloured ware, of which we see specimens in the form
of basket-shaped dishes ornamented with a pattern pressed from
a mould, are of the later date, that is from about 1760 to 1800.
Professor Church, who is probably the best authority on salt-
glaze, and whose knowledge as a chemist enables him to deter-
mine the operation of cause and effect in composition of body and
of glaze, says that it may almost take rank as porcelain, and that
had a little more alkali entered into its composition it would be
veritable hard porcelain.
Some of the tea-pots, sauce-boats, and pickle-stands are so deli-
cate, so thin and light, that it is a positive pleasure to handle them,
and they are, as a rule, admirably potted the lid of a tea-pot will
;
fit with a nicety which is unusual with any but the most carefully
finished articles. In appearance the surface is something like

that of a cuttlefish or the dried rind of an orange, with similar
little depressions, and when one is fortunate enough to find speci-
mens which are picked out with colours, they are particularly
brilliant and effective, and able to hold their own with the best
porcelain. The self-coloured pieces are usually either of a
cream or very pale drab, but sometimes they are found in green,
buff, red or brown, and the design is impressed by means of a
mould.
The glaze is like the surface of an egg, and, where colour is
introduced, there is either a portrait medallion or a quaint figure-
subject in bright enamel pigments, which stand out well against

the buff or cream-coloured ground.
The sauce-boat illustrated is an excellent specimen of its
a
SALT-GLAZE WARE 343
kind; under the spout is the date 1772 and initials. It is in
the collection of Mr. Herbert Young. There is an
excellent little collection of this thin, delicate salt-
"|P
"F
glaze ware in the ceramic gallery of the Victoria
-*'*-'
and Albert Museum and also in the Hritish Museum, where
the specimens are better arranged and have more instructive
labels.
M. Solon, in his work Tlie Art of the Old Eni^lish Potter, has
Coloured Salt-glaze Sauce-boat with shell ornament in ruby and

in relief,
landscapes in a panel formed by a raised green moulding. Date 1772,
and initials P. F. under the spout. In the collection of Mr. Herbert
Young.
reproduced some examples of this English earthenware and

fine ;
the perusal of work, also that of Professor Church on

this
English Earthemvare, and " Notes on Salt-glaze " in the large
edition of Chaffers are recommended to those who would make
a careful study of the many peculiarities of this interesting ware.
Its development during the later part of the seventeenth century
has been traced in these pages, but the subject will repay a much
more thorough investigation.
Salt-glase Figures.
The which we recognise as of this fine salt-glaze ware

figures
are generally of small size, somewhat archaic in appearance,
and are original designs, with the exception of some models
344 SALT-GLAZE WARE
showing Chinese inspiration, such as the sacred hawks in the
British Museum, or the Oriental figures in the Schreiber collection
(Victoria and Albert Museum), and occasionally from the classic
antique, such as the Boy extracting a Thorn. As a rule they
are of the peculiar putty-coloured material with the egg-shell
glaze,and show the " pitted " surface which has been compared
to dried orange skin, but we generally find that the glaze
has given them a smoother appearance. The use of different
coloured clays gives the specimens so treated a polychromatic
Fine Salt-glaze dish. In the collection of Mr. F. R. Shackletim.
effect,and very rarely the surface is enamelled in colours. No

marked example of a salt-glazed figure of this, the " cabinet
specimen " type, is known. Mr. Frank Faulkner, of Bovvdon,
Cheshire, has some good figures of this kind in his well-known
collection.
The manufacture of ordinary useful salt-glazed ware is now

carried on in this country to an enormous extent, common
kitchen ware, drain pipes, and sanitary appliances being glazed
by the chemical application of common salt, which is now
scientifically applied while the ware is being fired. (See also
notice at end of " DouLTON, Lambeth Wark.")
Samson (see Paris).

^ ^ 5
» o S
< ->
\
\
H -£
i/
r -T;
SARREGUEMINES— SCEAUX PENTHIEVRE 345
SARREGUEMINES, Fkanck.
A factory of considerableimportance at the present day
is that of Messrs. Utzchneider& Co., estabhshed about 1770.
Porcelain (soft paste), biscuit figures, and stoneware of an artistic
character are made.
fel
Recent Mark.
Satsuma (see Japan).
Savona (see Majolica).

Saxony see (Dresden).
SCEAUX PENTHIEVRE.
A small factory was established by one Jacques Chapelle,
near Paris, about 1750, and a few years later came under the
protection of the Due de Penthievre, Lord High Admiral.
Jardiniere of Sceaux faience.

346 SCEAUX PENTHIEVRE— SCHLAGGENWALD
The productions are soft paste, and very similar to those of
Menegy, for which unmarked specimens might be easily mistaken.
As the Sevres manufactory flourished, the best workmen and
artists were attracted thither, and the date of the death of its
ducal patron, 1794, was probably that of the close of this factory,
though the manufacture of soft paste had previously ceased. The
mark, like that of Menec^y, is engraved in the paste.
The anchor mark was assumed out of compliment to the
Admiral.
SP
d^
SCEAUX.
<4^
SX- ^^
Glut, 1775.
An excellent faience, much

resembling that of Strasburg
{q.v.), was also made here. is probable that the manu-
It
facture of it ceased about the same time as that of the porcelain.
SCHERZHEIM, or SCHRETZHEIM, Wurtemberg.

Some curious table-services of stannifer-
ous enamelled earthenware were made here
^ in the eighteenth century

made
vegetable.
each piece was
;
represent a joint of meat or a

to
These marks are given by Herr
Jiinnike.
SCHLAGGENWALD, Bohemia,
With the exception of the Vienna factory, this is said to have
been the oldest in Austria. The paste is hard, and the subjects
are sometimes finely painted. The mark is an S. It was estab-
lished about 1800 (see Bohemia).
S y
Some pieces are marked " Leppert und Haas," the names
of proprietors. The appears to have passed through
factory
various hands, and a great many marks of these firms have been
given in the latest (13th) edition of Chalmers' Marks.
SCHWERIN— SEVRES 347
SCHWERIN.
Svenrc
Herr Jiinike gives this ni;uk for (aiencc
made here.
Seinie (see La Seinie).

Sept-Fontaines (see Luxembourg).
SEVILLE, Spain.
M. Jacquemart is of opinion that some

of the majolica hitherto attributed to
Savona Majolica) was really made at
(see
Seville. As has been already pointed out,
the precise place of manufacture of much
of the early majolica will probably always
be a matter of uncertainty, and a discus-
sion of the question, though interesting, is
hardly within the scope of this work. Modem. xi.\. Century.
Dr. Drury Fortnum mentions that to Niculoso Francesco of
Seville, Spain is indebted for two of the finest monuments of
ceramic art, namely, the altar front and dossale in the chapel
erected by Ferdinand and Isabella in the Alcazar at Seville, and
the rich facpade to the door of the Church of Santa Paula in a
suburb of that city.
Towards the end of the nineteenth century, the firm of
Pickman & Co. carried on the manu-
facture of what is called " opaque
china " with some success. Imita-
tions of Moorish tiles and other
pottery are made in considerable
still ^ J?^ Z' (SEyij^
quantities. Some of these are marked
" Sevilla."
There is also a considerable manufactory of Seville pottery of
quaint artistic forms, and rude but effective decoration, in blues
and yellows, carried on at the present day in the town of Seville,
but there is no fabriqne mark.
SEVRES.
Inour notice of Vincennes we have already shown that
the history of thismost important ceramic manufactory, some of
the productions of which have within the last few years realised
348 SEVRES
such enormous prices, commenced with the manufacture of soft-
paste porcelain at Vincennes. The secret was carried to this place

from Chantilly by two brothers, named Dubois, and upon their
Sevres Vase, green ground (Jones Beciuest, Victoria and Albert Museum).
French Government, every

offering to sell their information to the
facilitywas afforded them, and a laboratory was furnisiied by the
Intendant of Finance in the Chateau of Vincennes. After three
years' trial, they were expelled on account of irregularities and
intemperance. One of their workmen, however, Gravant by name.
SEVRES 349
SPKCIMENS OK OLD SEVRES.

Portions of the service wliich originally comprised 744 pieces, and was made for the
Empress Catherine of Russia at a cost of ;{î3,5oo. The decoration is extremely beautiful,
bands of turquoise with paintings in medallions of the initial E (Ekaterina), and the
numeral 11. Eleven pieces of this service were formerly in the collection of Mr. Goode.
35° SEVRES
an intelligent man, had gained much useful information, which he
sold to the Intendant.
In 1745 a company was formed by Charles Adam, a sculptor,
and certain were granted.
privileges Eight years afterwards,
however, these privileges were extended, and the King (Louis
XV.) took an active interest in the venture, paying one-third of
the expenses, and allowing the company to use the title of
" Manufacture Royale de Porcelaine de France." The two L's
in reversed cyphers became the regular mark, and the letters of
Sevres hisatit Group of ChililrL'n (Jones Bequest, Victoria and Albert Museum).
the alphabet placed between them formed the distinguishing date-

mark, the 1753, denoted by A, commencing this new
year
starting-point in the factory's history. The rest of the alphabet
denoted successive years, until (omitting W) Z was reached in 1777.
The double-letter period then commenced, A A standing for
1778, and so on until P P denoted 1793, when this system of
marking was discontinued and the initials of the Republic (R F
for Repubiique Frani;aise) were used for short time. Other
;i
changes in the mark were used after 1800 which will be shown
in the table at the end of this notice. Upon many specimens
of old Sevres china, in addition to the double "L" and enclosed
SEVRES 351
letter indicating tiie date, there is also another letter or device.

This the signature of the decorator or gilder.
is A list of these
signatures will be found following these remarks.
From the King's partnership dated the prosperity of the
factory, and in 1756 the buildings at Vincennes having become
SPECIMENS OF OLD SEVRES.

Portions of a famous dessert service made originally for Louis XVI., and afterwards
purchased by George IV., and placed in the green drawing-room of Windsor Caslle. The
medallions ot mythological subjects are the work of Legay, Philippine, Dodin, and Asselin.
The whole service was, about twenty years ago, assessed at £ 1 00,000, and would now be worth
considerably more. The specimens illustrated were formerly in the collection of Mr. Goode.
too cramped for the operations, the company built a large and
suitable edifice at Sevres, where a site had been purchased from
the Marquise de Pompadour.
In 1760 Louis XV. purchased the establishment from the
352 S?:VRES
company, and appointed M. Boileau director, at a salary of 2000

louis, with a competent staff of the best men to assist him in each
Lyre-form Clock of Sevres china, dark blue (Jones Bequest,

department of the operations, the royal grant to the manufactory

being 96,000 francs. Duplessis, goldsmith to the King, composed
SEVRES 353
the models for the vases, and Daguerre, Boizot, Falconet, Pajou,
Clodion were all employed at various times as modellers.
Bachelier superintended the decoration, and in his directions to
the painters drew upon the best examples of suitable subjects
which were at his command. As proof of the King's personal
interest in the enterprise, he allowed exhibitions of the productions
to be held at the Palace of Versailles, and it was a sure road to
royal favour for a courtier to become a liberal purchaser at
these sales, at which his Majesty personally presided.
The oldest colour is the beautiful bleu tie rot. In 1752 Hellot
discovered the charming blue ground colour obtained from
copper, known as bleu turquoise, and in 1757 the pink known as
Rose Pompadour, or du Barry was used about the same time other
;
chemical experiments resulted in the violet pensce, jaune claire et

jotiquille, verte-pomme et vcrt-pre, combinations which, in harmony
with that most delicate composition forming the pate teudre, render
the pieces so produced the most beautiful that can be imagined
or desired.
The names of some other decorations occur in various cata-
logues and inventories thus the ail de prcdix, the well-known
;
partridge eye-pattern, vert sable, rose tendrc, or riche, vert rehaussc

d'or and others, rouge de fer, a brilliant red, carmine, pourpre, bleu
turque, a greyish-blue not to be confounded with turquoise blue,
and veined blue representing lapis-lazuli.
bleu lapis, a
These ground colours are sometimes used in combination on
the same piece, the bleu de roi with the verte-pomme, or the Rose
Pompadour, or Rose du Barry, with an interlaced scroll of green.
There is a pair of small square-sided pedestals in existence, which,
when the author last saw them, were in the collection of Mr.
Samuelson, and which were decorated in four colours, rose, green,
bleu de roi, and turquoise, one colour on each side. These tiny
ceramic gems, only some three inches high, were valued at ^5000,
and are probably unique, as the difficulty in firing different
colours, which need special temperatures, must have been almost
insuperable. A dejeuner service of the Rose du Barry and green
colours in combination, was sold in the Hawkins sale at Christie's,
May 1904, for about ^'1200.
Madame de Pompadour, whose Court influence was supreme
for twenty years, gave the factory every encouragement and ;
doubtless, it is to her artistic taste and her extravagance, that the

Sevres porcelain of the best period owes much of its fame.
With respect to the beautiful and delicate salmon-pink, so
z
354 SEVRES
highly prized by collectors, it is singular that the name by which
it has been generally known in England should be Rose du Barry,
seeing that Madame du Barry was not born until 1746, one year
after the time at which her predecessor in the King's affections
had become his mistress. Madame de Pompadour was born in
1721, " reigned "
from 1745, and died in 1764. It is evident,
therefore, that Madame du Barry can have had no influence on
the productions of Sevres until long after the discovery and use
of the beautiful rose colour. The labels in the Victoria and
Albert Museum bear the alternative description, Rose du Barry or
Pompadour. From the author's experience and observation it
would appear that there are two rose colours, one of these having
a little blue in its composition and being termed by some
collectors " Pompadour pink," to distinguish it from the true
Rose du Barry. According to the latest authority on Sevres,
MM. Chavagnac and de Grollier's Histoire des Manufactures
Frauraiscs de Porcclainc, Madame du Barry gave no title to
any colour, and Rose Pompadour is the correct title of the beautiful
ground colour, which every collector admires and which only the
wealthy can possess. It is, as already stated, a salmon-pink with
a tinge of yellow in its composition, which gives the pink the

peculiar tint familiar to gardeners as the colour of the bloom of
the azalea Mollis, and it is distinct from the other colours applied
to Sevres porcelain, in that it has an opaque instead of a trans-
parent appearance. The highest prices are always commanded by
genuine examples in which this delicate ground colour predomin-
ates, and in the Hawkins sale at Christie's in 1904 a single cup
and saucer sold for 200 guineas. Vases or other important speci-
mens realise sums running to thousands of pounds. It is recorded
that Xhrouet, the artist who actually produced the colour, was paid
160 francs as a reward for his achievement.
In reference to the influence on Sevres of these two royal
favourites, it may be observed that whereas the interests of
Madame de Pompadour in the factory were commercial as well
as artistic, Madame du Barry had no financial concern in it, and
was only interested in the production of beautiful objects.
Although, as already mentioned, no particular colour or model
appears to have been named after her, many orders were executed
for her, and many presents were ordered for her by the King, and
there is at least one celebrated service decorated with her mono-
gram. The Queen, too, although living outside the inner circle of
the Court, was interested in the factory, as were the Dauphin and
SEVRES PORCELAIN
VASE.
Mounted in Ormolu.
Jovrs Kkouest,
lA AND Albbrt Museum
I
SEVRES 355
Marie Antoinette, who came to France as his bride in 1770. The
latter already knew something of the manufacture of porcelain
owing to the patronage of the Vienna factory by the Austrian
Court, and became an enthusiastic supporter of Sevres.
Vases, services, garnitures de chcmince were made as presents to
reigning sovereigns and rewards to ambassadors, and orders on
a liberal scale were also received from such personages. It is
obvious, then, that the Sevres factory has a pre-eminence over all
rivals in the magnificence of its productions, and important speci-
mens can only be acquired by wealthy collectors. The
amateur of moderate means must be content with cups and
saucers, sucriers, tea-pots, or such other modest portions of valuable
services.
Besides the costly and richly decorated services and vases,
there were also made large quantities of the best kind of soft-
paste porcelain, decorated in a simple and unassuming manner,
for use in the chateaux and houses of the nobility. Detached
sprigs of flowers with a double blue line, or a horseshoe-shaped
scroll and flowers, the " hop trellis " pattern, a " chintz " pattern,
and many others toonumerous to mention, are all examples of
the refined and cultivated style of ornamentation favoured by this
celebrated factory. The charming white of the soft-paste ground
enhances the value of the decoration, however simple, and the
gilding, whether slight or rich, is invariably skilfully and carefully
executed.
Beautiful, however, as were the productions of the royal
works, the desire to equal the Saxons in their hard paste, and
also to imitate the durability and utility of the Chinese and
Japanese porcelains, were the cause of continued researches,
until in 1761 Pierre Antoine Hannong, youngest son of the
Frankenthal potter, sold the secret of hard-paste porcelain to
the Sevres manufactory ;with its adoption, the ability to make
the more delicate pd/e tendre would appear to have vanished. The
necessary kaolin was accidentally discovered in large quantities
near Limoges, by the wife of a poor surgeon, who had noticed a
white unctuous earth, which she thought might be used as a
substitute for soap this, on analysis, proved to be the desideratum
;
for hard-paste porcelain, and so revolutionised porcelain-making

in France.
The direction passed at M. Boileau's death in 1773 to Parent,
and in 1779 to Regnier, who, however, was imprisoned. A com-
mission, appointed by the National Convention, then administered
356 SEVRES
the affairs of the factor)' until M. Alexandre Brongniart, to whom
ceramics owe so much, was appointed by the First Consul in
1800, and remained director for nearly fifty years. He founded
the Museum of Ceramic Productions, with the approval and
assistance of Napoleon the First.
The finest period was, however, that from 1753 to 1769,
when the pate tendre was in its perfection, the more durable and
later process preventing that beautiful "blending" of body and
decoration, which is so eminently artistic.
A peculiarity of the earhest productions of the factory at Vin-

cennes, which, as we have seen, was afterwards amalgamated with
the Sevres factory, deserves to be noted. In the beautiful rich
dark bhie ground colour, one observes a blotchy or splashed effect,
owing to the colour being unequally applied to the surface of the
china with a brush. Afterwards, at Sevres, this process was im-
proved by putting on the colour in the form of a powder which
vitrified and spread more equally over the surface. Tlie effect
of the old Bleu de Vincennes is, however, excellent, and is now
very highly prized by collectors. This effect was also successfully
imitated at the Chelsea works by M. Sprimont, and is to be
found on some of the richest specimens of Chelsea. These pieces I
of Vincennes are, as a rule, very sparsely painted, and depend for
their decorative eff'ect, upon the beautiful blue colour and the rich
massive gilding which generally accompanies it.
His Majesty the King has at Windsor Castle and also at
Buckingham Palace a very fine collection of Sevres porcelain,
which the writer has had the privilege of examining, and compar-
ing with the inventory books kept at the Castle, in which every
specimen is accurately described. In Chaffers' large edition
several quotations of interest will be found which were taken
from these books, and one of our illustrations represents portions
of a famous service, valued at ^^ 10 0,0 00, which is in the Green
Drawing-room at Windsor Castle. Another illustration represents
one other famous service of old Sevres which was made in the
year 1778 for the Empress Catherine II. of Russia. Its original
cost was about ;£i 3,500 for the 744 pieces of which it consisted.
Its value to-day may be imagined from the fact that when a
single plate is offered for sale, the average price realised under
the hammer is about ;î 50 ; and at the Octavius Coope sale (May
1910) the pair of ice-pails illustrated on page 349 realised ^2700.
Its decoration is the initial of Ekaterina and the numeral II.,
and the beautiful turquoise ground colour with small medallions

SEVRES 357
of a chocolate brown. Another famous service, which was made
for the Prince de Rohan and is decorated with his
Cardinal
monogram, is in the possession of M. Leopold de Rothschild,
who also owns a set of the finest "jewelled" Sevres known to
the author.
The late Baron Ferdinand de Rothschild had also a very
valuable collection of Sevres china, as have other members of
this wealthy family, both in England and on the Continent,
and the collections of the Duke of Buccleuch, Lord Hillingdon,
and Mr. David Currie are famous. The latter has several cases
of specimens on loan at the Victoria and Albert Museum.
Amongst the collections which can be seen by the public, those
which contain some of the finest specimens are the Jones collec-
tion in the Victoria and Albert Museum, and the famous Richard
Wallace collection bequeathed by the late Lady Wallace, exhibited
at Hertford House, Manchester Square. This collection was
originally formed by Lord Hertford, and by him left to Sir Richard
Wallace. Hare wood House, halfway between Harrogate and
Leeds, contains some beautiful Sevres, and is open to the public
one day a week.
There are also in the pottery galleries of the Victoria and
Albert Museum a great many specimens of less note and value,
but of great beauty, and also a small collection of specimens of
present-day manufacture, which were presented to this country
by the French Minister of Industry some years ago. Mr. David
Currie's old Sevres in this museum and that of Mr. J. G. Joicey
are also worth studying.
When the writer was revising the eighth edition of Chaffers'
Marks and Monograms he took considerable pains to complete
the list of date marks and decorators' signs on specimens of Sevres
porcelain, and this list he has been allowed to use for the present
work by the courtesy of the proprietor and publisher of Chaffers.
There is in the same work much information of a more de-
tailed character about this very important ceramic factory, and
the reader is referred to it for additional notes on Sevres porce-
lain. In revising the present edition of Pottery and Porcelain
for the press, advantage has been taken of the more recently
published authority, Histoirc dcs Manufactures Franfaises de
Porcelainc by Cte. de Chavagnac et Mis de GroUier, to add
a number of the more recent of the Sevres marks from 1871
to 1904.
358 SEVRES
u
Early Marks, "Vincennes." First date mark, 1753.
The double L mark is sometimes very freely

Examples of 1770 and 1771, with unknown rendered as above. This mark is upon a
emblems of painters. plate of good soft paste, and with slight but
careful decoration in detached bouquets and
a blue line, in the collection of Mr. Herbert
W. Hughes.
CHRONOLOGICAL TABLE OF SIGNS EMPLOYED IN

THE NATIONAL MANUFACTORY OF SEVRES,
By which the exact date of any piece may be ascertained. It differs from that
before given by M. Brongniart in the addition of the letter J for 1762, and the
JJ for 1787, which is now altered on the authority of the late M. Riocreux of
the Sevres Museum.
A (Vincennes). 1753 G I7S9

B ( ditto ). 1754 H
C ( ditto ). 1755 I.
D removed to -Sevres 1756 J
E 1757 K
F 1758 L
—
SEVRES 359
S 1771 BB .
1779 JJ .... 1787
T 1772 CC . [780 KK. .... 1788
U 1773 DD 1781 LL . .... 1789
V 1774 EE . 1782 MM .... 1790
X 1775 FF .
1783 NN .... 1791
Y 1776 GG .
1784 00 .... 1792
Z 1777 HH 1785 PP to July i7tli 1793
AA 177S 1786
—
Note. These letters are not always placed within the cipher, but occasionally outside,
when the interlaced L's are too contracted to receive them or if double letters, one on each
;
side. It may also be observed that the date letters are sometimes capitals and sometimes
small.
In the Histoire dcs Maiiiifactiircs Fran(atses dc Porcelain, by MM.

de Chavagnac et de Grollier^ an interesting otftcial letter is fully
quoted, in which M. Garat, the Minister of Interior, under date
July 17, 1793, informed M. Regnier, the director of the Sevres
factory, thatinasmuch as the mark of the double L was the em-
blem of royalty, it was desirable to obliterate any such souvenirs,
and the mark was to be altered with as little delay as possible.
The actual date of the King's execution was January 21, 1793.
Although on some rare occasions the double letter was used after
this year, and the letters QS^ and RR have appeared in several
books, we may take it that this 17th July was the date when the
old double L and date letters disappeared officially, and the new
order of things came into existence, as the following table of signs
will explain :
Year IX (iSoi)
.
360 SEVRES
FIRST REPUBLICAN EPOCH. FIRST IMPERIAL EPOCH.
1792 TO 1S04. 1804 to 1814.
cLe Sevres
NAroi.EON. 1804(01809. Always
in red.
•%Vr£S
Napoleon. 1810101814. Generally
printed in red.
SECOND ROYAL EPOCH.

O evre$ 1814 TO 1S48.
^.3^
I.ouis XVIII. 1814101824. Generally in
J.e. vvbjA. blue the number under the word Sevres
;
indicates the year, last two figures only

being used.
1792 to 1799.
a^
Charles X. 1824 to 1S2S. The numbers

underneath ihe word Sevres stand for
I So I to 1S04. 1S24, 1S25, 1S27 nearly always in blue.
;
SEVRES 361
Louis
sv;
riiilippe.
SE 45.
1845 to 1848. Generally

Charles X. 1829 and 1830. Generally in printed in green.
blue ; used on pieces only gilt.
CS.4 8.:)
After 1803, tlii.s mark in green was used for
white porcelain, the 48 representing the
year, and so on up to the present time,
only the last two cyphers of the year
"<? 3Q being used.
Charles X. 1830. Generally in blue ;
used on the decorated pieces.

SECOND REPUBLICAN EPOCH.
1848 to 1S51.
< evres
Generally in blue.
The S stands for Sevres, and 51 for 1851.
SECOND
Louis Philippe. 1831101834. In gold

or in blue.
Louis Philippe. 1834. Generally

in blue.
On services for the Palaces. Other marks

indicated other chateaux, as P'ontaine-
bleau, St. Cloud, Dreux, &c. &c. ,
362 SEVRES
THIRD REPUBLICAN EPOCH.
1 87 1 to 1904.
1900 to 1904. Mark

in green to indicate 1900 to 1904. Mark
yearofmanufaclure. impressed on biscuit.
1S71. Mark printed in red.
1900 to 1902. Mark 1900 to 1902. Mark

in red to indicate in red to indicate
1S72 to 1899. Mark printed in red.
year of decoration. year of gilding.
18S0 to 1889. Mark printed in red.
1900. Mark used for large decorated

specimens.
1890 to 1904. Mark printed in red

without date.
Mark in red to indicate year of decoration.
1888 to 1891. Mark stamped in relief,

a potter.
(SEVRES)
1S60 to 1899. Mark impressed on biscuil. Mark in red to indicate year of gilding.
189S to 1904. Marks used for specimens m.ide for presentation to ministers,
ambassadors, or legations.
SEVRES 363
TABLE OF MARKS AND MONOGRAMS

OF
PAINTERS, DECORATORS,AND GILDERS OF THE ROYAL

MANUFACTORY OF SEVRES,
FROM 1753 TO 1800.
Marks.
564 SEVRES
Marks.
SEVKES 365
Marks.
366 SEVRES
Marks. Names of Painlcrs. Subjects and Dales.
Chauvaux, jun. Gilding and bouquets.
/.n. 1773-
Chevalier . . Flowers, bouquets. Born
<s 1729, entered 1755.
Choisy, De . . Flowers, arabesques. Born
1748, worked 1770-
1825.
^\ Chulot . Emblems, flowers, and ara-
besques. 1755-1793.
C .772, .
or
Cîy COMMELIN Garlands, bouquets. 1765—
1793-
^ COKNAILLE Flowers, bouquets. 1755-
1793-
CoTEAU of Geneva was one of the artists who decorated Khe jewelkii Sevres; he was an
cnameller, and his lieautiful enamelled borders are much prized.
x.-^
SEVRES 367
Marks. Knincs of Pain/ers. Subjects ami Dates.
DUTANDA
D T. . . . Bouquets, garlands. 1773-
1793-
Evans .... and land-
Birds, butterflies,
scapes. Born 1733,
worked 1752-1793.
/• Falconet . . . Head of School of Sculp-

ture, 1757-1766 ; died
1791.
Fernex, Jean Bap- Modeller and sculptor,

tiste de 1756.
Falot
Fontaine
^
368 SEVRES
Marks. Names of Painters. Subjects and Dates.
GiRARD . . . Arabesques, Chinese sub-
jects. 1771-1825.
GOMERY . Birds. Born 1736, entered

f 1756.
Gremont Garlands, bouquets. En-

9^- tered 1769.
cy^ -^^ Grison . . Gilding. Entered 1749.
^ '^. Henrion Garlands, bouquets. En-

tered 1768.
>" Hericourt . Garlands, bouquets. Born

1740, gilder 1755.
W or ^^ "'^''™ •
Figures, subjects, &c.
fore 1800.
Be-
H HOURY Flowers.
tered 1747.
Born 1725, en-
HUNY Flowers. Before 1800.
JOYAU Detached bouquets. Be-

fore 1800.
^» JUBIN . . . Gilding. Before 1800.
Bouquets, medallions, em-

blems. Entered 1758.
o O
•
^jv Leandre Pastoral subjects. Before
1800.
Z' J§ Le Bel, sen. P'igures and flowers.
Garlands, bouquets. En-

tered 1765, gilder 1793.
SEVRES 369
Marlts.
370
SEVRES 371
Marks.
PH
37- SEVRES
JllarJcs. Names of Painteis. Subjects and Dates.
Tabary . . . Birds, &c. Born 1711, en-
tered 1754.
Taillaxdier . Bouquets, garlands. Born

i737> worked 1753—
1790.
• • • Tandart Bouquets, garlands. Born
1736, entered 1755.
Tardi . . . Bouquets, garlands. Born
1733, entered 1757.
Taunay . . . Enameller and painter.
Inventor of ground
colours, one of the early
Vincennes artists. About
1745-1754-
• • • • Theodore . Gilding. Before 1800.
Thevenet, sen. Flowers, medallions, groups.
Born i7o8,enteredi74i.
Thevenet, jun. Ornaments, friezes. Born
1737, entered 1752.
Vande .... Gilding, flowers. Born
1727, gilder 1755.
Vautrin, afterwards Bouquets, friezes. About
Madame Gerard 1792.
Vavasseur . . . Arabesques. Born 1731,
entered 1753.
or ViEILLARD . . . Emblems, ornaments. Born

1718, entered 1752, good.
2000 Vincent .... Gilding. 1752 1790.

Xrowet . . . Landscapes, and inventor
>T-^ + or of Rose du Barri ground
colour. Born 1736, en-
tered 1750.
Yvernel Landscapes, birds. Born

1713, entered 1750.
SEVRES 373
Marks of Painters on Sevres porcelain hilherlo not identified.
A description of the specimens on which these marks have

been found is given in the large edition of Chaffers.
T" "TT or Th ^ Unknown. Cupids, &c. Before 1800.
i.N. "^^ v:i
Y' ^3 GI D
LATE PERIOD, 1800 TO about 1900.
Marks.
374 SEVRES
Marks. Names of Paintej Subjects. Time of Work.
Barriat Figures 1852-83
Belet, Adolphe Ornament After 1800
Belet, Emile . Flowers and birds Previous to

1900
Belet, Louis . Ornaments After 1800
Beranger, A. . Figures 1810-46

Oi. r:
Bienville, H. Ornaments 1 877-1904
Blanchard, Gilder and de- 1849-80

Louis corator
Blanchard, Ornaments. Mo- 1878-1901

Alex. deller and de-
corator
Bocquet . Decorator 1902-4
BOITEL . . Gilding After 1798
Bonnuit . Decorations 1858-94
BouLLEMEiRjA. Gilding Previous to

1842
BOULLEMIER, Gilding 1807-38

sen.
BouLLEMiER, Gilding 1813-55

jun.
Brecy, Paul . Ornament 1880-1904
A
76
SEVRES 377
Marks.
EF
378 SEVRES
Marks. Names of Painters. Subjects. Time of Work.
Lambert . . Flowers and oina- 1864-90
J-L ments
Langlace . . Landscapes 1807-44
Laxglois, Landscapes 1847-72

Michael N.
Tf Lassere . . Decorator 1896- 1904
»^ Latache . . Gilding 1870-79
Le Bel, Nicho- Landscapes About 1823

J^.JJ. las I
T Legay . . . Ornaments (/>fl/c s«r 1866-84

**^* pate)
Leger . . . Decorator 1902-4

ft.
Legrand . . Gilding 1780-1800
Le Guay, Et. Figures, portraits 17 80- 1840

Ch.
EL Leroy, Eugene Gilding 1864-88
LiGUE, Denis . Decorator 1881-1904

AT.
Lucas, Charles Decorator and 1877-1904
modeller
Martinet . .
IB".- WE
SEVRES 379
Marks. Names of Painters. Subjecls. Time of Work.
Meyer, Alfred Figures, &c. 1863-71
M MiCAUD .
MiLET, Optat .
Gilding
Decorations on fai-
ence and paste
1792-1834
1862-76
MiMART
LM . , . Decorator 1884-I904
{MOREAU . . Gilding About

1809-15
MOREAU, son 1838-71
MORIN . . . Gilder 1888-1904
AM MORIOT . . . Figures, &c. 1830-52
MORIOT, M'"'" . Figure subjects After 1800
OuiNT, Charles Decorator 1879-82

O. Clj
Paillet, Fer- Figures and orna- 1879-88

nand ments
Parpette, M"' Flowers 1791-1825
J Peluche . . Decorator 1880-1904
Philippine Flowers and orna- 1785-1840

ments
PlHAN Ornament 1888-1904
p Pline . . . Painter and gilder 1867-70
PORCHON . . Ornament After 1800

38o
382 SEVRES— SHERZHEIM
Marks. Navies of Painters. Subjects, Time of Work.
Tracer, Henri Painter 1887-I904
rr
X Tracer, Louis Painter 1888-I904
Tristan, Eti- Painter and gilder 1837-82

enne Joseph
Troyon . . . Ornaraentsandgild- 1802-17
ing
]-U
SPODE 383
SPODE.
Spode was born in 1733, and after serving an ap-
Josiah
to Thomas Whieldon, sometime partner of Josiah
prenticeship
Wedgwood (see Wedgwood), started in business on his own
account. He introduced transfer-printing into Stoke in 1784,
and used the process largely in producing the old " willow
pattern," and other Oriental designs. He copied many of
Wedgwood's designs, including his jasper ware, also the "cane
ware" of Turner and the patterns of other contemporary
potters. He died in 1797, and was succeeded by his son, who
COPELAND, LATE Sl'ODE.

Classical-form Vase. Classical-form Ewer.
commenced to make porcelain, in addition to pottery, in 1800.

Five years later he invented an opaque porcelain, or ironstone
china, a production with which his name has become identified.
William Copeland afterwards became a partner in the firm,
having previously been its London agent. Under his manage-
ment a very was carried on in the metropolis at
large business
a warehouse in Fore Street, Cripplegate, and subsequently in
Bond Street. William Copeland's son, afterwards Lord Mayor
of London in 1835-36, purchased the whole concern in 1833,
In 1843 the firm was Copeland & Garrett. In 1867 Mr.
Copeland took into partnership his four sons. The London
House (Bond Street) was given up by Messrs. Copeland in 1881,
384 SPODE
and adepot for the wholesale trade opened in Charterhouse
Street, E.G.
The manufactures of the present firm may be divided into
six classes: porcelain, ceramic statuary, ivory, majolica, ironstone,
and earthenware.
The porcelain is soft, beautifully white, and has what is
technically described as "a fine body and excellent glaze." The
THE LAUNCH.
Specimen of Co]3cIand*s Parian or Ceramic Statuary.
best is that modelled after the Sevres pale tendre of the early
period. some specimens, when more than usual care has
In
been bestowed upon the finish of the gilding, the similarity to
Sevres very great, an effect assisted by the softness of the
is
paste ; the jewelling, however,

is not so lustrous.
With regard to ceramic statuary, the composition of clays

now commonly known as Parian was originated at Copeland's
manufactory, being the invention of a Mr. liattam. Like Josiah
SPODE 385
Wedgwood, who neglected to patent his celebrated Queen's ware,

Messrs. Copeland & Garrett acted in a similarly unselfish or
careless manner, and the manufacture of this peculiar kind of
porcelain was speedily followed by other firms. At the close
of an art exhibition at South Kensington in 1871 a lively con-
troversy arose, which we believe was
ultimately decided in Copeland's
favour. Mr. Gibson, R.A., who has
designed raanyof the subjects carried
out in this " porcelain statuary,"
declared this material to be second
only to marble for reproducing the
sculptor's idea and on account of its
;
lustrous transparency it is considered

by some people to be superior to its
more opaque cousin " biscuit."
A speciality of Copeland &
Specimen Plate of Copeland China,
Garrett's time was the manufacture jewelled and turquoise ground, with
of dolls' services ; some of these are finely painted landscape; in the col-
charming miniature sets, and
little lection of Mr. Charles Hardy.
in great favour with collectors.

These specimens are so small that the mark is generally omitted.
The fine earthenware called "ivory" is very agreeable both
to sight and touch, resembling Wedgwood's " Queen's ware " in
many respects, though more closely akin to porcelain greater ;
durability is also claimed for it.

Copeland's manufactures are now largely used for mural
decoration of all kinds the drawing and finish of the tiles, of
;
which sometimes as many as fifty are required for a single panel,

show great merit.
Earthenware is also manufactured very largely both for home
and export trade.
|a:^Î
The word " Spode" is fre-
CSPODE)
quently written in red a SPODES
Stone-China in cursive letters.
X
COPELAND COPELAND
Present mark.
{Mark used 1847-56.
2 B
—
386 STAFFORDSHIRE POTTERY
STAFFORDSHIRE POTTERY.
The produced at several fabriques
different kinds of pottery
in Staffordshire have been noticed under their respective headings,
but there remains a type of Staffordshire pottery, specimens of
which are generally unmarked, and which it is difficult to assign
to any particular potter, except where there are models which
can be identified with others marked by the makers. In Stafford-
shire Pots and Potters the brothers Rhead have given a fairly
complete list of those Staffordshire potters who are known to
have made figures, Toby jugs, and groups, and the following is
taken from their book :
Ralph Wood
(father and son), Enoch Wood, Aaron
Wood, J. Wedgwood, Whieldon, Voyez, J. Neale & Co.,
Lakin & Poole, Wood & Caldwell, Turner & Co., Walton,
R. Wilson, Bott & Co., J. Lockett, Barker, Sutton & Till,
Edge & Garrett, J. Dale.
The names printed in capitals are well known, and there are
notices of their work in the alphabetical of makers in this
list
chapter. Two of the best collections of old Staffordshire signed

figures probably those of Mr. Frank Falkner of Hillside,
are
Bowdon, Cheshire, and Dr. Sidebotham, which until two or three
years ago were on loan at the Salford Museum, Peel Park, but
which are now in the Dublin National Museum.
For further information about many of these old Stafford-
shire potters the reader is recommended to refer to Messrs.
Rhead's book mentioned above.
The groups and figures made by these potters, quaint in
subject and generally excellent in colouring, form a type of
ceramic treatment which we now recognise as " Staffordshire
Pottery," and many collectors make very effective groupings
of them. The subjects selected are frequently Biblical, such as
the Four Evangelists, Elijah and the Ravens, or are of a humorous
character like the Tithe Pig and many others. "Toby" beer-
jugs of quaint characters were also a speciality of the eighteenth-
century Staffordshire potters. Cows, sheep, deer, and dogs
are also cleverly represented in a rough but effective manner.
STAFFORDSHIRE POTTERY 387
The well-known group of "The Vicar and Moses" is by
Ralph Wood, and " The Parson and Clerk," illustrated below, is
attributed by Professor Church to his son, Aaron Wood. Both
specimens are in the Victoria and Albert Museum. In some cases
the subjects chosen, such as the " Tithe Pig " group, are earthen-
ware imitations of Chelsea models. One of the best and most
Stafifordshirc J^^ttcry Group ol I'.iison anci C I' ik (Victoria anil Albrr Museum).
important of the Staffordshire figures is one 20 inches high

representing Fortitude, and the author formerly possessed one
of a lady standing at a tripod which was over 24 inches high,
probably one of the largest ever made. Mr. E. Sheldon, Mr. H.
Manfield, M.P., and Mrs. A. R. Macdonald, have good private
collections of Staffordshire pottery, and there are a great many
specimens in the British, and Victoria and Albert Museums, and
also in many provincial museums, among others those of Liver-
pool, Northampton, Nottingham,Taunton, Birmingham, the
Wedgwood Institute, Stoke-on-Trent, Burslem, and a great
many more. As some of the by local
collections are lent
collectors, they are not all permanent exhibits. When marked,
specimens bear the names of some of the potters enumerated
above. The work of J. Voyez is perhaps better recognised by
his jugs and plaques than by groups and figures. The jugs are
modelled in very high relief, and one in the Victoria and Albert
Museum is signed and dated 1788. Voyez was at one time in
the service of Josiah Wedgwood, but subsequently he worked
for Palmer of Hanky. In 1773 he issued a catalogue of
" Intaglios and Cameos after the most esteemed antiques, made
by J. Voyez, Sculptor," and this pamphlet is now deposited in the
Birmingham collection in the Old Library, Union Street.
John Walton of Burslem, whose name occurs on the previous
page, deserves special notice. He made a great quantity of rustic
figures, also sheep and cows in bowers of foliage, the figures of
the four evangelists, and others. His work is crude but the
colouring is effective. A peculiarity of Walton's figures is that
one finds the names of the characters represented, stamped in
relief, such as " Gardener," " Luke," " Falstaffe," while his name
WALTON occurs in a scroll, Walton commenced business in
1790; his name appears in a directory of 182 1, and he discontinued
manufacturing about 1839.
Some confusion has been caused by there having been so
many potters named Wood, more than one of them bearing the
same Christian name, and a few words of explanation seem neces-
sary. Ralph and Aaron Wood were the two sons of a miller of
Burslem, and both worked as potters. The former made the
rustic figures which have already been alluded to. Aaron was a
modeller, and made moulds for other potters. He had two sons,
William and Enoch. The elder was apprenticed to Josiah
Wedgwood, and was so successful that at the end of his articles
by a special arrangement he continued his service as a modeller
at Etruria. Enoch the younger son, was apprentice to Henry
Palmer of Hanley, and subsequently set up in business at Burslem
as a maker of cream-coloured, black basalt, and jasper wares, and
of portrait busts which have become famous. Two favourite
subjects were the Rev. George Whitfield and the Rev. John Wesley,
and in the collection of Mr. Percy Fitzgerald, dispersed a few
years ago, there were two of these, each signed at the back with
—
the name of tht- subject, date of death, and the words " Enoch
Wood, Sculp. Burslera." The two dates of the decease of these
worthy pastors, 1770 and 1791, give us the time when Enoch
Wood was doing some of his best work. Mr. WilHam Burton
says that Enoch Wood was in partnership for some time with
his cousin Ralph, who was, of course, the son of the maker of
"The Vicar and Moses" and other humorous groups, and he
quotes from a directory of 1786 where both names are entered
as of Burslem. Ralph Wood the elder was born in 1716 and
died in 1772 among other models attributed to him are the
;
Haymakers, Sportsman and Bagpiper, " Old Age " represented by

a beggar leaning on stick and crutch (see full page illustration),
some Toby Fillpots, figure of Charity on a rocky base uncoloured,
and Hudibras on horseback. When his figures are marked they
are impressed R. WOOD, as distinguished from the mark of his
son, which is Ra Wood, Burslem.
The Falkner collection of pottery figures already mentioned
contains a great many specimens marked by their makers, and
amongst these the following may be noted as of especial interest
since they help us to identify unmarked figures with makers :
Vicar and Moses, stamped Ra Wood, Burslem. This proves

that the son made this group as well as his father.
Bust of Shakespeare stamped Wedgwood.
Figure of a lion, right paw resting on globe, stamped Wedg-
wood. This model was made by several other potters.
Eight figures of chessmen, jasper ware, stamped WedGWOOD.
Figure of St. Sebastian stamped Enoch Wood.
Pair of Tritons as Candlesticks, stamped Wood and Cald-
well.
Group of St. George and Dragon, stamped Wood and Cald-
well.
Figure of Britannia seated on a rocky base, helmet, breast-
plate, and shield silver lustred, stamped Wood and Caldwell,
Burslem.
Figure of Quia as Falstaff, stamped WOOD AND Caldwell.
Bust of the Duke of Wellington, stamped WOOD and Cald-
well.
Bust of the Rev. George Whitfield, companion to the Bust,
of Wesley, marked ENOCH WOOD, sculp. Burslem.
Figure of a lion in white on solid blue jasper base, impressed
Enoch Wood, sculpsit.
Female figure, classical design, hands upraised, holding water
vase as a candleholder, mounted on round plinth, black basaltes,
impressed Turner.
Satyr head, mask cup, black basalte, impressed Turner.
Group of figures round trunk of a tree formed as jug, inscribed
J.
VOYEZ 1788.
Figure of a sheep, lamb in foreground. Scroll at back im-
pressed Walton.
Figure of a girl standing on an irregular base, dove in hand,
marked on a raised riband Walton.
Pair of figures, boy and girl, each holding a basket of fruit,
standing on irregular bases. Same mark.

Pair of figures, boy embracing dog, girl embracing lamb, tree
background, irregular bases. Same mark.
Toby jug, old man seated holding on his knee with both hands
jug of foaming ale. Copied from Ralph Wood Model. Same mark.
Figure of lion couchant, crowned, tree background. Same
mark.
Royal Arms of George III., with supporters decorated in
heraldic colours. Same mark.
Two figures of a girl with watering can, tree background.
Same mark.
Group of boy standing, with dog at foot, girl seated with a
lamb in her lap, three sheep below, tree background. Same mark.
Pair of figures of gardeners, lettered in front " Gardeners,"
impressed Salt.
Figure of a girl standing on irregular base embracing a lamb,
tree background, lettered in front " Shepherdess," impressed Salt.
Pair of figures, sheep and ram, with Iamb in foreground, on
rocky bases, tree background. Scroll at back impressed Salt.
Figure of a boy, lettered in front " Fire." Same mark.
—
Note. This potter was Ralph Salt, who worked at Hanley from 1812 to 1S40, and was
a maker of somewhat inferior Staffordshire pottery cottage figures. His work is of similar
quality to that of Walton. He died in 1S46, and was succeeded by his son, Charles Salt.
Figure of Diana, partly draped, left hand holding bow, standing

on square pedestal, height 5 inches, impressed mark Neale and Co.
Toby jug, old man seated holding foaming jug of ale.
Same mark.
Figure of a boy, partly draped, holding basket of flowers
strongly coloured, height 5^^ inches, raised tablet at back impressed
Edge and Grocott.
Figure of a boy with nest in left hand and bird in right,
height G^ inches. Same mark.

These makers are included in Rlieads' list, but these figures

are the only ones known to the author astheir name.marked with
Group, the Assassination of Marat by Charlotte Corday, mark
impressed under the base Lakin and Poole.
The group has an inscription with COKDii (sic) and the date ;
of the tragedy, 1793, probably gives us that of this group.

Figure of a girl supporting creel with left hand, and holding
up skirt, in which are two fish, with her right hand, front lettered
"Water," height 6 J inches, impressed at back, J. Dale, Burslem.
Bust of Wesley on panelled pedestal. Same mark.
Bust of William Clowes in black coat, impressed on a white
tablet in front " William Clowes, Primitive Methodist Preacher,"
marked at back in transfer B.S. and T., Burslem.
Note. — This is the mark of Barker, Sutton and Till mentioned in the Rheads' list.
James Caldwell was taken into partnership in 1790, and the

firm was Wood &
Caldwell until 181 8. In that year Enoch
purchased the Caldwell interest, and
afterwards, having taken his three sons
into partnership, the business was
carried on as Enoch Wood & Sons,
and there are specimens stamped with
thistitle and the word " Burslem,"
together with a device like a spread

eagle and a shield.
Enoch Wood died in 1840 at the
advanced age of eighty-three, and the
business was closed six years later.
A collection of specimens of his
own and his partners' work was made
by Enoch Wood, and Mr. Burton
mentions that he sent 182 of the best
examples to the King of Saxony in
1835, and these are still preserved in
the Dresden Museum. It is unfor-
tunate that the Enoch Wood collec-

tion was not catalogued and kept in-
Bust of Wesley by Enoch Wood
tact, but at his death it was dispersed
(signed), in Mr. Frank Falkner's
by sale, and the specimens in our collection.
museums are chiefly from this source.

In addition to Wesley and Whitfield, some of the other por-
traits attributed to Wood, or Wood & Caldwell, are the figure
392 STAFFORDSHIRE POTTERY— STOCKELSDORF
and the busts of Alexander
of Falstaff I. of Russia, Napoleon and
Wellington, Nelson, Duncannon, the Duke of York, and other
celebrities of the time.
Mythological personages and allegorical figures were also
represented, and the author once had two figures of Newton and
Chaucer signed " E. Wood."
Two who made rustic figures were Hall and
other potters
I. Dale. These two names are stamped on two figures of
peasants in the collection of Major-General Astley Terry.
To the younger Ralph Wood Mr. Burton attributes the busts
of Milton, Handel, and Washington. Some of these bear the
signature impressed " Ra Wood," and although in some technical
details they are better than the work of his father, they lack the
bucolic humour which render the Tithe group and similar subjects
fascinating to the collector of this characteristic English pottery.
A full account of all these potters and their works will be
found in Chaffers' Marks and Monograms, 13th edition.
There is a marked difference between the older and better
quality of these Staffordshire figures and the ones which have
been more recently made, which the collector should be careful
to note. The coloured pigments which decorate the older pottery
figures. Tobies and groups are transparent, while the modern
colours are opaque. The modelling and figure-work generally of
the work which was produced from about 1740 to 1780 is also
superior to that which was made later.
STOCKELSDORF.
Herr Jiinnike gives these marks for faience made here.
Buchwald was the director, while Leihamer was either the painter
or the potter.
In the Hamburg Museum there are several specimens of this
faience marked with an abbreviation of the name of the place,
STOCKHOLM (see Rorstrand).

STRALSUND— STRASBOURG 393
STRALSUND.
A factory was established here about 1730 for the manu-
facture of faience. Some of the early directors are said to have
come from Rorstrand and Marieberg, notably Ehrenreich, whose
initial is frequently found as part of the mark. The curious
device of three radiating lines under a crown is derived from
the arms of the town (see also notices on Makieberg and
Rorstrand).
^
STRASBOURG.
Strasbourg is of particular interest to the collector of old
porcelain, because was the cradle of hard porcelain, so far as
it
France was concerned, and Charles Francis Hannong, who was

born in 1669, is considered to have been the first manufacturer.
He had started faience works in 1709, but subsequently, with
the assistance of a runaway workman from Meissen, turned his
pottery works into a porcelain factory, which after his death in
1739 was carried on by his sons. Paul Antoine Hannong
became sole owner in 1738, and with the assistance of Ringler,
also one of the Meissen potters in its early days, attained con-
siderable success.
When Vincennes factory enjoyed royal protection,
the
Hannong was prohibited from rivalry, and retired to Frankenthal,
while his son still continued the manufacture of earthenware
at Strasbourg.
The few specimens Strasbourg porcelain are
that exist of
very difficult to identify unless It is hard paste, and the
marked.
marks are always impressed or incised. The impressed H is
394 STRASBOURG
Basket-form Dish of Strasbourg faience.
1 ouuUuii ill hlKLsiHiuii^ KucncL- (\ icluiiu and Albeit Museum).

— — —
STRASBOURG 395
generally accompanied by certain letters and numbers which
signify as under :
V for vase, F for figure, G for group, VC for plates, C or

CC for cups.
The following marks are attributed to this fahriqiic by various
experts, but some are doubtful :
H I
?1 1
@ %
^ m
n
\<% H «5
M
vv
S3X ^?
H 20
TM-H-'H fiS'T'HC
Hannong also made faience here, the manufacture of which
was continued by his descendants until 1780. The above marks
are the initials of the different members of the family.
The following additional marks on porcelain only, are given
on the authority of MM. de Chavagnac et de Grollier :
H
K
GO 51
n "c
\J l-j c it i>
7
396 SUNDERLAND— SWANSEA
SUNDERLAND.
There were several potteries established near Sunderland, the
earliest about 1775, and the most recent about the first quarter
of the nineteenth century. There is very little to distinguish
this pottery from that of Staffordshire, save that it is less carefully
finished. The jugs and half pint, and pint cylindrical mugs which
we see with ships and quaint legends or verses upon them, are
generally recognised as Sunderland pottery, or that made at
Newcastle-on-Tyne (see also Newcastle). Sometimes a pinkish
lustre colour has been introduced into the decoration. If speci-
mens are marked, it is with the name of the potters, such as

" Dixon & Co., " " Phillips & Co.," " Dawson," " Sewell &
DoNKiN," " Fell," " Fell, Newcastle."
Sussex (see Rye).
SWANSEA.
There appears have been a pottery at Swansea, established
to
in the year 1768, and this was extended under the direction of a
Mr. Haynes in 1790 and its title changed to "The Cambrian
Pottery." Mr. L. W. Dillwyn purchased these works in 1802.
In the notice of the Nantgarw factory we have mentioned how
upon seeing at those works some beautiful specimens of white
porcelain, having a granulated fracture v'hich he described as
similar to " fine lump sugar," he made inquiries respecting its
production.
This Nantgarw porcelain was being made by Billingsley, who
had left the Worcester works without leave, assisted by Walker,
who had also worked there and had married Billingsley's daughter.
These men persuaded Mr. Dillwyn that the disasters in the kilns
which attended so many of their experiments were due to the
consequences of their small capital and limited plant, and Mr.
Dillwyn was induced to build some china works at Swansea, where
they could continue their experiments in the manufacture of this
beautiful transparent body, with brilliant glaze, of which he had
seen specimens. This change had not been made long, and the
experiments seemed like succeeding, when Mr. Dillwyn received
legal notice from Messrs. Flight & Barr of Worcester, that the
two men Billingsley, alias Bailey or Beeley, and Walker, who were
in his employ, were breaking their contract with the Worcester
firm. Mr. Dillwyn dispensed with their services, and they left
2
O 3
5
u
o .s S
pi = ^
<
y 4>
Q. O
rr. y
<
& ~
SWANSEA 397
Swansea and returned to Nantgarw in 1817, where, after a brief
attempt at carrying on business on their own account, they failed.
Mr. Dillwyn still continued to make china, but the true secret
possessed by Beeley was wanting, and he was not successful,
and in the Cambrian of March 14, 1818, appeared an advertise-
ment of the dissolution of his partnership with the Bevingtons,
who had assisted him at the works.
The manufacture of porcelain was continued at Swansea after
this ; indeed Mr. Drane, who has paid a great deal of close atten-
tion toSwansea and Nantgarw china, states that the greater part
of Swansea china which one finds
now, is subsequent to the year
1818.
The quality of porcelain pro-
duced Swansea varies consider-
at
ably. There is first of all that
made before Beeley's assistance was
obtained, then that which, as al-
ready pointed out in the notice of
the Nantgarw factory, is practically
the same, and is the most beautiful
of all English " bodies " or pastes,
and again there is the production of
the factory after Beeley's departure. Swiinsca diffee-can (Victoria and
A peculiarity of some of this Albert Museum).
later porcelain is, that by trans-

mitted light,it displays a pale sea-green tint, and therefore has
been termed by collectors the " duck-egg green body."

Swansea porcelain was mostly decorated at the works, and
the flower subjects by Beeley are skilfully painted and most
artistic. Other artists were Pollard and Morris, pupils of his,
Baxter for subjects and landscapes, Colclough for birds, Beddow
for landscapes, and Weston Young for flowers but the latter ;
are generally stiff and mechanical, probably being copied from

botanical book illustrations.
Mr. Alexander Duncan has supplied the author with photo-
graphs of some specimens in his collection, representative of the
work of these different painters, and Mr. Drane has kindly
written a description of these, xvhich is here quoted, so that the
reader may, if he wishes, become acquainted with some of the
various styles of work executed at Swansea.
"The full-page illustration shows ten objects arranged in two
398 SWANSEA
stages. On is a cup after the manner of Wedgwood,
the upper stage
a ivare covered tureen on stem painted by Young in his botanical
style, an oviform vase without cover painted by Thomas Pardoe,
with a very effective group of flowers on a dark blue ground.
This was made before 1814, and is marked 'Cambrian.' In the
same collection there is a companion vase, painted by the same
artist but showing progress in finish and drawing, while the gold
'marblings on the blue ground are a great improvement in the
'
appearance of the vase (see also Cambrian). Between these

three objects are, to the left of the tureen, a very elegant little
ewer insaucer exquisitely painted by Pollard, and on the

its
right of the tureen is a spill vase painted by Pollard with the wild
strawberry in his characteristic manner. On the lower stage,
beginning on the left, is a cabinet cup and saucer of fine Swansea I
porcelain delicately painted, with a Cupid, by Baxter ; next to
this is a plate of Beeley's Swansea body made in a Nantganv
mould, with an embossed pattern on its border. In its centre is
a group of garden flowers by Pollard ; and next is a two-handled

vase of elegant form, in its saucer, painted by Pollard with wild
flowers in a dift'erent style of his work. On the right of this vase
is a Nantgarvv plate with a wreath of flowers occupying the whole
of its bevelled edge, the centre being left blank. On the right of
this is a Nantgarw cup and saucer painted by Billingsley. Here
are represented all the chief painters, except Morris, on Nantgarw
china and on Swansea china and ware, and the specimens of their
work are so selected and represented that, by using a magnifying
glass, some of the painters can be identified by their peculiarities."
Landscape subjects are attributed to a painter named
Beddow, but they are of inferior execution. It is difficult to
know what particular subjects one can ascribe to Baxter we :
know that he published a book of drawings of Greek and antique

figures in outline, but many other subjects have been found,
signed by him, and he is said to have painted the landscapes on a
fine service in the possession of Mr. Herbert Eccles of Neath.
Mr. Robert Drane possesses a rather poorly painted plate of
Chamberlain's Worcester signed and dated 1809, when he must
have been quite young. Besides these recognised Swansea artists
a great many pieces were decorated by amateur painters who
bought or had given to them the china specimens in the white,
painted them with flower subjects, and then had them fired. Some
of those are signed " Elinor Bassett," a lady friend of Dillwyn's
who is known to have painted several pieces.
SWANSEA 399
The usual marks are " SWANSEA " printed in red letters or
impressed in the paste, and a trident in red, the two marks occurring
on some specimens. Mr. Turner, in his work already alluded to,
gives other marks which he has seen on some specimens in the
cabinets of local collectors, and in the Cardif? Museum, where,
during the last twenty years, a large collection has been made,
chiefly owing to the enthusiasm of Mr. Drane, a local amateur,
who was given carte blanche hy the Committee to make purchases for
Specimens of Swansea Porcelain, showing the forms of the ordinary domestic ware.
In the collection of Mr. Alexander Duncan.
the Museum of such specimens as would serve to complete the col-

lection. Mr. Alexander Duncan of Penarth, Mr. Graham Vivian,
Mr. Herbert Eccles of Neath, and other local residents, have
good private collections. The different marks seem to have been
applied without rule or method, and Mr. Herbert W. Hughes
possesses a service which has several of the marks. It may be
observed that the trident mark is supposed to indicate a paste

which was considered by its makers to be an improvement upon
the softer kind which preceded it. This improvement, however,
is from a manufacturer's point of view, and not from that of a
400 SWANSEA
collector. It is more gritty on the surface, and if held up to a
strong light will give one the effect of sodden snow. On the
coarser qualities the light is less translucent, and there is a smoky
tint observable in the paste. Amongst the marks are those of
" Dilhvyn & Co.," Swansea,^ in black, red, yellow, green, and
puce ; Bevington & Co., Swansea.

The collector of Swansea and Nantgarw must be upon his
guard against a particular form of imposition which it is difficult
to detect. was discontinued some of the painters
After the factory
being settled in Swansea continued their means of livelihood by
purchasing undecorated china from Coalport or some other factory
and painting the same with flower subjects, and then having the
pieces fired and finished. In such cases one finds the true work
of a Swansea artist and a fairly white china as a background, but
the paste must be closely studied, and a knowledge of the peculiar
moulds of plates and of cups and saucers and vases in use at
Swansea, will help us to determine the origin of the china.
SWANSEA. iswanseaI
Swansea. DILLVVrYNi^C°j
SVVAM6EA
Lp
Marks on Swansea China, impressed or painted, generally in red.
S'lwdns&O' ^lwdns&Oy
(In green) on saucer. (In red) on cup.
These two marks are on cup and saucer of the very finest Swansea china ;
painted by Baxter.
Some of the very best Swansea china is marked in script letters

(mostly in red, but also in other colours) after the style of the
two marks given above.
SWANSEA SWANSEA SWANSEA
In red on tea-service and Mark in red. Impressed mark (very small
several plates. type) on china plate.
SWANSEA— SWITZERLAND 401
Several specimens of good Swansea are marked in printed red
given ibove.
letters after the style
SWANSEA. SWANSEA.
^
Impressed on fine china plate Impressed on very large china dinner
painted with flowers. dish painted in (lowers.
The marks with single and double trident are later but not
common.
The following additional marks are taken from The Ceramics of
Swansea and Nantgariv, by W. Turner, but they occur on Swansea
pottery only and not upon the porcelain. The mark " Dillwyn's
Etruscan ware " occurs on the black and red copies of the Greek
and Roman vases, such as are in the British Museum. They are
only of interest as being connected with Swansea ceramics. This
ware was made about 1845.
SgXKHfoA
ftt'ÂK, e
fO (l-nfMlJ. 1
hiwiA^)
^l^^^^^cSrt ^^'^'^^"^ <S.,^
G-Ooji^KA^T-
"WoOCBIKfi
•SWaaTi^Â
DiirifrwKcJ" Bgsr <ioorv 1
SWITZERLAND.
Faience was made in the seventeenth and eighteenth centuries
at several places in Switzerland, hut they are not of much interest
to the collector. Some further details will be found in Chatters'
Marks and Monograms, thirteenth edition, revised by the author.
For Swiss porcelain, see Nyon, Thoune, and Zurich.
2 c
402 TALAVERA LAREYNA—THOUNE
Syrian Ware (see Turkey).
TALAVERA LAREYNA, near Toledo.

This was the most celebrated fabriquc of faience in Spain.
It was noted as early as 1560, and reached its zenith in the
seventeenth and eighteenth centuries. Since that time it has
gradually declined. Various kinds of ware were made, some
similar to Delft, others of a peculiar light greenish glaze others ;
again are described as good imitations of Oriental china, esteemed

everywhere for the qualities of colouring and glaze. No marks
are known.
Taxnowa, Bohemia (see Bohemia).
TEINITZ, Bohemia.
A modern factory of high-class faience is
carried on here by a potter named Welby. The

designs and colouring are good, and the gilding
excellent (see Bohemia).
TETTAU.
Tettau, an unimportant factory of the Thuringian group, and
only of interest because the mark, a cursive T, has been hitherto
, unplaced on account of lack of information. Pro-
^
^^-^
/
'
fessor Hoffman
Museum mentions
in his Catalogue of the Munich
a marked specimen in that collec-
tion, and Sir Augustus Franks gives it cautiously as probably one
of the Thuringian factories.
Thirou, Rue (see Paris).
Thoovt and Labouchere (see Delft).
THOUNE, SWITERLAND.
-^ There was here a fabrique ware in the of
n j/vlC-
^*y'^ '^^ *'^^ "'"^^ ware of
Sgraffiato or incised
Q/Zi^x*/ ^^ which mention has been made in Chapter H.
Specimens marked as in the margin are
in the collection of Mr. Henry Grahame of
the ylberdecn Free Press.
THURINGIA 403
THURINGIA.
In the forest district of Thurin«i;i, about a dozen factories
of more or less importance, came into existence during the latter
part of the eighteenth century, and several of them still continue
to produce a large output, which supplies many German cities
with domestic porcelain of fair quality, besides that which is
exported.
The collector concerned only with the specimens of earlier
is
times, when ware was manufactured,

of considerable artistic merit
especially costumed groups and figures, which tiiough lacking the
grace and elegance of the best Meissen or Frankenthal modelling,
possess characteristics which render them well worthy of acquisi-
tion.
Very little was known of the history of these factories imtil
in 1909 an important work entitled Alt Thiiriiigcr Porzellan,
by MM. Graul and Kurzwelly, was published. From the infor-
mation thus available, the author is now able to correct many
previous errors, to give a list of this group of factories in
chronological order, and also to inform the reader of some of
their individual characteristics, which will be found in the several
notices on them in this chapter.
The cardinal distinction between these Thuringian factories
and many other continental porcelain works, is that the former are
as a rule conducted by merchants and potters, who have made the
best of the materials at hand, and developed their business on com-
mercial lines. The manufacture of the more artistic productions
having resulted in loss, and that of the more ordinary domestic
ware in profit, the former was gradually discontinued, while the
making of table ware developed into a considerable trade.
Such factories as Fiirstenburg, Fulda, Frankenthal, Hochst,
and a host of others of similar character, to say nothing of the im-
portant factories of Sevres and Meissen, were established as the pet
hobby of some reigning King, Grand Duke, Prince, or nobleman,
and after succeeding so long as they were subsidised, gradually
faded away because they were not run upon a commercial basis.
The charming specimens of Menecy or Hochst, of Chantilly
or of Frankenthal, are rightly prized by the collector because the
conditions favourable to the production of such delightful ceramic
bijou.x will probably never recur.
The leading spirit in the enterprise which commenced at
Gotha and afterwards spread to Volkstedt, Veilsdorf, Limbach,
— :
404 TOFT WARE

and the other places where porcelain was made in this Thuringian
district, was Gotthelf Greiner, who was assisted by a chemist
named Mackeleid. Greiner was originally a glassblower, but de-
veloped into a potter, and he and his sons and grandsons gradu-
ally acquired a dominant interest in the majority of these factories.
He was born in 1732, and the period of his chief activity would
appear to be from about 1760 until his death at an advanced
age.
The following are the Thuringian porcelain factories
I, Volkstedt; 2, Kloster-Veilsdorf Wallendorf 5, ; 3, Gotha ; 4, ;
Gera 6, Limbach 7, Ilmenau 8, Grosbreitenbach 9, Rauen-

; ; ; ;
stein. Some smaller efforts were made at Katzhiitte, Tettau, and

Schney, but only in the case of Tettau did they survive the initial
stages. See separate notices of the above in their alphabetical order in
this chapter.
TOFT WARE.
One of the earliest of the known Staffordshire potters who
flourished in the latter half of the seventeenth century was Thomas
Toft. Ralph Toft was another suc-
TiTrhQ.T' r?fTn
.
THOMiiO
V
JjOI 37 cessf ul potter about the same period.
'^*''' '''^'^ '^^' decorated in slip,
BAtPHIWOr-rHGl? •
and belongs to a class of early Eng-
'°'
lish pottery, called " slip-decorated
ware." It was made in Staffordshire in Kent (see Wrotham),
and also in Cheshire and Derbyshire the earliest known dated ;
specimen being 16 12 and the latest 1710, both pieces of

Wrotham make.
The best reference work on this characteristic old English
ware known to the writer is one entitled Examples of Early
English Pottery Named, Dated, and Described, by John Eliot
Hodgkin, F.S.A., and Edith Hodgkin, which was published a few
years ago from its text we quote the following description of
;
slip-decorated ware :
" The material of the body of this ware was usually a coarse
reddish clay, on which, when formed by the wheel or otherwise,
slip, a thin, creamy mixture of clay and water, was allowed to
trickle through a tube by the workman, who thus produced

according to his fancy, quaint figures, conventional designs,
borders, medallions, inscriptions, names or dates. A glaze,
usually composed of sulphuret of lead, often mixed with man-
ganese, was then applied before, firing, and this gave to the body
—
TOFT WARE 405
and to the slip,whatever colour, the ricii yellow tone and

of
transparency, which adds so much to the charm of the ware.
The vessels decorated with slip comprise tyj^s, posset-pots, cups,
plates, jugs, dishes, candlesticks, and cradles intended for gifts."
The two best-known Staffordshire makers of this ware were
the two brothers Toft another was Thomas Sans, a circular
;
dish by whom, dated 1650, is mentioned by Mr. Shaw in his

History of Staffordshire. A curious dish which Mr. Hodgkin
describes is thus inscribed, "Thomas Toft, Tinker's Clough, I
made it 166-," the last hgure being obliterated.

In the British Museum there are excellent examples, chiefly
dishes, bearing the name " Thomas Toft," but without a date.
A dish in the Willett collection, signed Kalph Toft, is dated
1676. Other makers of this ware are quoted both by Mr.
Hodgkin and by Professor Church in his excellent work, Eng-
lish Earthenware, but the Tofts are the best known.
Named and dated specimens were in Mr. Eliot Hodgkin's
collection which was dispersed by auction some years ago ;
also in General Pitt-Rivers' private museum near Salisbury, and

in the museums of Salford, Youlgrave, and Derbyshire, besides
those quoted above. An illustration of a dish of Toft ware will be
found on page 26.
These Toft ware dishes are crude and primitive, but they
mark a distinct chapter in the history of English potting, and
when undoubtedly genuine are highly appreciated, as much as
^100 being given for an authenticated and signed specimen. There
are many imitations, and collectors must exercise great caution.
A careful examination of the dishes in the British Museum is
strongly recommended.
Mr. Solon's work on this subject, and the latest edition of
Chaffers, should also be consulted.
The brothers Rhead
in their very interesting work, Stafford-
shire have given us a list in chronological
Pots and Potters,
order of these old makers of slip ware, which is as follows :
Thomas Toft 1660, Ralph Toft 1676, James Johnson 1691,

Robert Shaw 1692, T. Johnson 1694, William Chaterly 1696,
George Taylor 1700, W. Rich 1702, John Wright 1707, William
Wright 1707, Ralph Simpson 17 10, Joseph Glass 17 10, William
Talor 17 ID, Thomas Sans i 710, William Sans 1710, JobHew 17 10.
Some figures were also made by these potters, and the
Arquebusier on horseback belonging to Mrs. William Salting
in the Bethnal Green Museum is an excellent specimen others ;
4o6 TORKSEY
are in the Hanley Museum. They are generally made of buff-
coloured clay, and are decorated with lines, dots, or drops of white
slip. The elder Astbury and Thomas Whieldon also made figures
of this description a little later than the last date in the above list
(see notices under AsTBURY and Whieldon).
Tour D'Aigues (see La Tour D'Aigues).
TORKSEY.
A small and
unimportant factory generally overlooked by
writerson ceramics was established at Torksey, which is about
twelve miles from Lincoln, on the banks of the river Trent, and
from being a town of some little importance about a hundred
years ago, has dwindled to a straggling village. The factory is
of interest because of its connection with William Billingsley,

who in 1805 described himself as "of Brampton in the parish
of Torksey, china manufacturer."
Dr. William O'Neill of Lincoln, an enthusiastic collector of
old china, wrote an article upon the subject which he has been
good enough to send to the author, and from the result of per-
sonal inquiries made on the spot it would appear that Billingsley
leased a house on a farm in the township of Brampton, about
three-quarters of a mile from Torksey the house is still called
;
" Pottery House," and the farm attached to it " Pottery House
Farm." The date given by Dr. O'Neill is 1803, and Billingsley
is said to have been assisted by George Walker.
his son-in-law,
Billingsley was born in 1758, apprenticed to Derby in 1774, left
these works after twenty years' service, and then helped Mr. John
Coke to establish the Pinxton factory. In 1801 he was directing
the manufacture of china at Mansfield, and then in 1803 crossed
the Trent, and was at Torksey until 1808, when from lack of
financial support he failed, and left the place to take employment
with Messrs. Flight &
Barr of Worcester. The rest of his con-
stantly changing career is recounted in the notice of the Nantgarw
and Swansea factories, where he was subsequently employed.

The character of Torksey china is very similar to that of
Pinxton, or rather, it is like a coarse kind of Derby, generally
painted in landscapes, with descriptions or titles underneath the
specimens. Parts of services are found, and sometimes cups or
mugs which have been made for children, with their names
painted thereon. No particular /(;/;;-/i7»e mark seems to have been
adopted, but Dr. O'Neill mentions a service painted with views
TOUKNAY 407
of Derbyshire and Nottinghamshire, bearing a colourable imita-
tion of the Dresden mark, the crossed swords, the two daggers
meeting at the points, and having besides a nondescript hiero-
glyphic something between a W
and the figure 3.
TOURNAY.
A manufactory of soft-paste porcelain was established here in
1750 by a concessionaire named Francois Carpentier, who sold
it to a merchant named Peterinck in 1751, and in the ten years
1752-62 its staff increased to upwards of two hundred work-
men. Peterinck, although he lacked technical experience, was
an enthusiastic potter, and obtained from the Empress of
Austria, under whose dominion Belgium was at this time, a con-
cession giving him the exclusive privilege of manufacturing
porcelain in the Netherlands for thirty years. The title of Im-
perial and Royal to the factory was also granted, and he was
assisted by the Government with capital for the undertaking.
For some years subsequent to 1770 the factory prospered, but
within some twenty years from that date, through various causes,
a period of decline set in, culminating in a disastrous iii-e, which
destroyed a great part of the buildings and their contents. After
Peterinck's death at a very advanced age, the enterprise languished,
and was purchased in 1S15 by Henri de Bettignies, the son of
the man who, as has been mentioned, owned the factory of St.
Amand-les-Eaux. The productions of the best period of Tournay
are some fine table services, of which there is one in the King's
possession at Windsor Castle, and another in the Victoria and
Albert Museum lent by Mr. J. G. Joicey. Both these services
are part of the famous one which was originally made for Philippe,
due d'Orleans. These have the famous hleii de roi decoration,
with good paintings of birds, and are supposed to be the work of
an artist named Mayer, who was employed about 17S0. Vases
and services in the style of the Meissen and also of the Sevre.
factory were made, and the border of bleu de ro/with good gilding
and paintings of landscapes, birds, and flowers comes out into
good relief against the soft creamy ground colour of the porcelain.
After 1800 a decoration in the style of the Empire came into
vogue.
The paste or body of this porcelain, though soft as opposed
to hard paste, is coarse when compared with the fine pate teiidre
of Sevres, and its texture is less translucent. Its productions

— —
4o8 TOURNAY —TREVISO

have been used for subsequent decoration after the style of the old
Sevres. The marks are as below, but pieces are often un-
marked. Sometimes two of the marks will be found on one
specimen.
/y\
The two following marks are also attributed to Tournay they ;
occur on a fine service in his Majesty's collection at Windsor

Castle :
To T^
The marks on the pottery made here are as follows :
6 >><•
^
4^^G
TREVISO, Italy.
Towards the end of the eighteenth century the brothers Guiseppe

and Andrea P'ontebasso established a factory
Cj'./\...r.r. of soft-paste porcelain here. The marks are
/T~~ •
G. A. V. F. (standing for Guiseppe Andrea Fratclli
Fontcbasso) and the name of the town. Some-
times the initials G. A. are omitted, and occasionally a date is
added. More rarely the names are written in full.
In the British Museum there is a Treviso cup and saucer
marked T. R.
TUNSTALL POTTERY— TURKEY 409
TUNSTALL POTTERY (see also Adams).
In the notice on Mr. Adams' imitations of Wedgwood's jasper

ware, Tunstall has already been alluded to. Chaffers mentions
several other potters who had works here, and made light earthen-
ware of the kind known generally as " Leeds ware." Some of
these pieces are stamped G. E. BOWERS, Tunstall Potteries,
& E. Keeling. There is in the Victoria and Albert
Child, also A.
Museum a large dish dated 1757, with the name of Enoch Booth,
who had a pottery at Tunstall.
TURIN.
Faience is said to have been made in Turin during the six-
teenth and seventeenth centuries, but as very few specimens appear
to have been marked, one cannot distinguish them from other
Italian ware of a similar character. Chaffers mentions a fniltiera
in the Reynold's collection as marked " Falta in Torina a di \2
Sctebre iS77>" ^"'^ '^''ge dish in the collection of the Marquis
''•
d'Azeglio inscribed on the back of the rim, " Fabrica Reale di Torina
1737," with a monogram which looks like a combination of G. T.
The same authority mentions another plateau with the potter or
decorator's signature " Gratapaglia Fc Taiir" (see also notice under
ViNOVO).
TURKEY.
Both the Turkish and Syrian pottery are closely related to
Persian ware, and the amateur should study the specimens of all
three classes of this Eastern pottery in the Salting bequest. The
decoration is generally of a floral character painted
in bright colours under a clear siliceous glaze, the tS^
ground being white or tinted. The South Kensington I
* »
authorities now describe as Turkish the ware generally ^^^

known as Rhodian, q.v. But little appears to be ff
known Turkish porcelain.
of Some pieces, marked V^
with a crescent, are, however, attributed to the
ceramic factories of Turkey, as their decoration determines their
Eastern origin. The marks in the margin have been attributed
to Turkish porcelain.
4IO TURNER— VALENCIENNES
TURNER, JOHN.
This potter was originally partnership with a Mr. R. Bankes
in
of Stoke, but the partnership was dissolved and Turner started
on his own account in 1762 in Lane End, where he appears to
have manufactured a great variety of ware, including statuettes
and busts (see Staffordshire Pottery). There is now in the
Edinburgh Museum a remarkable punch bowl with a capacity of
22 gallons, modelled by Wassey who worked for Turner, and this
was considered quite a tour dc force at the time. Turner was asso-
ciated with Josiah Wedgwood in the working of some Cornwall
clay pits, and Chaffers mentions a controversy between them and
Champion regarding the renewal of his patent, which they suc-
ceeded in getting limited to the production of transparent ware,
leaving it open to other potters to make opaque ware from this
Cornish clay.
John Turner made imitations of Wedgwood and copied his
cream ware, and also his jasper, but the blue ground colour
was never equal to that of Wedgwood. The ware by which his
reputation has been established is that known as " cane ware,"
well potted and carefully finished productions of buff tint, as
the name suggests, in which the relief patterns are sharply
defined. He manufactured largely for export to the Low
Countries. Some of his plates were decorated at Delft, where
he had a depot. Not a few collections possess curious plates
decorated with Biblical subjects, such as the Prodigal Son, crude
in drawing and in colour (red prevailing) having inscriptions in
Dutch. These are of Turner's manufacture, and are occasionally
marked with his name impressed. There is one in the Cardiff
Museum presented by Mr. Robert Drane. Turner died in 1786.
The mark is TURNER impressed, but a great deal of his
ware was unmarked (see also Lane End and New Hall).
Urbino (see Majolica).
VALENCIENNES, NoRD, France.

In the notice of St. Amand-les-Eaux it has been said that
Fauquez was unsuccessful in obtaining the Government con-
cession for porcelain making in 1771, but that he continued
his enterprise until 1778, when the competition of Tournay
drove him out of the field. In 1785 he sought and obtained a
;
VALENCIENNES 411
make porcelain at Valenciennes, and appointed

special authority to
as manager a man named Vaunier, who had formerly been
employed at Lille. The brother-in-law of Fauquez, named
Lamoninary, also assisted him. Some specimens bear the mono-
gram F. L. v., which probably stand for Kauquez, Lamoninary,
Valenciennes.
The concession was granted for and contained a
ten years,
clause compelling him to use coal for his Fauquez
furnaces.
and Vaunier appear to have left the works, and Lamoninary
emigrated in 1795. The factory was ordered by Government to
be sold as the property of an emigrant, but it was apparently
worthless. In 1800 Lamoninary returned and attempted to
re-establish himself, but he was unsuccessful, and the plant was
sold in 1810.
The porcelain of Valenciennesnot remarkable for quality
is
it is similar to the hard paste of Vincennes, and one has seen

dishes and cups and saucers painted with landscapes and battle
scenes in a pink colour.
Some biscuit groups representing various subjects, modelled
by a sculptor named Verboeckhoven but called Fickaer,
of merit
are the more noteworthy, and of these the group representing
the Descent from the Cross is the most important one known to
us. Refer to St. Amand-les-Eaux.
M I ^
Faience was made here during the greater part of tlie last
century by various members of the family of Dorez, who came
originally from Lille. The undermentioned marks are attributed
by different authorities.
oC
4i: VAUX— VENICE
VAUX NEAR Melun, France.
There seemsto be some doubt about the existence of a porcelain
factory here. Permission to manufacture was appHed for in 1769
by the proprietors of the hard-paste Vincennes factory, but it is
uncertain whether this was actually granted. There must always
be confusion about the mark in the margin, which
/C\ is identical with that attributed by the best authorities
to Bordeaux. Such specimens as are claimed for

Vaux are similar in every respect to those of Bordeaux or any of
the other hard-paste French factories.
VENICE.
According to two letters dated as early as April 1470 and
May 1 5 19, quoted by Mr. C. H. Wylde in Continental China, porce-
lain was made at Venice, firstly by one Antuonio and secondly

by Jacopo Tebaldo, but beyond the existence of these interesting
documents describing the achievement of success, we have no
other evidence, and for practical purposes must begin the history
of Venetian porcelain in the eighteenth century,
A manufactory of both hard and soft-paste porcelain was
established in Venice by Francesco Vezzi, with the help of some
workmen who had left the Meissen factory, as early as 1720—25.
The ware produced was of a very high class, both in paste and
decoration, so that unmarked pieces are often mistaken for
Dresden of the earliest period.
One sometimes and coffee services of Venetian china

finds tea
in leather-covered boxes,decorated with the arms of noble families
of Venice ; these were part of the dowers of Venetian ladies on
their marriage. A service of this kind, decorated with the arms of
the Scmiticoli family, the leather case bearing the same device
as the china, was purchased by the author at the sale of the
VENICE 413
Cavendish-Bentinck collection. Sometimes one finds the cups of
Venetian, and the saucers of Dresden porcelain, and vice versa. TJie
decoration of cups and saucers is mostly in quaint Oriental style,
with a somewhat plentiful use of a peculiar red in the colouring.
1758 some Dresden potters named Hewelke obtained
In
permission of the Senate to make porcelain. Little is known of
their productions, which ceased in 1763. Their mark is said to
have been a V for Venice.
In 1765, a potter named Cozzi succeeded in obtaining con-
cessions from the State, and produced specimens in consider-
able quantity, and great artistic merit.
of His white glazed
groups and figures are very fine, and, in the author's opinion,
worth much more than their present market value, as compared
with the respective prices and merits of specimens from other
e.xtinct factories. This white china is unmarked. There were
several fine specimens in the collection of the late Lady Char-
lotte Schreiber, which were purchased by the author at her death.
Several of these are now in the possession of Lord Rosebery.
The usual mark of Venetian porcelain of this period (1765-
1812) was an anchor, generally painted in red, which is often
accompanied by initials, presumably those of the painters. A
mark more rarely found is V% Ven", or some other contraction
for Venezia, generally painted in either red or blue, and not
infrequently ornamented with flourishes and grotesques. See
also Majolica.
This mark belongs to the earlier period of Vezzi mentioned
above. Some of the specimens of old
Venetian porcelain in the Franks coUec- Veil • A.G.'JT'ZO.
tion are decorated with the arms of
.\n early mark.
> 1 1
Popes and Doges which give us the

approximate dates of their manufacture, and these should be
noted by the collector.
V en "^
Vf
1
414 VENICE—VIENNA
Joclouico (yrtolanjL Uenetb
(Uninse.ntlLiJM'ri'ca. aC
c/orcecana, in I/enetia
Marks of the \'ezzi period. Established

1723, ceased circa 1 7 50.
)j. Qv turv <vto

JoJe. vazz I J'ect
Co 22
CM
Giovanni Marconi.
^
This anchor is generally in red.
T.G.
1^
VIENNA.
This factory was established in 1718, after many previous
experiments, by a Dutchman named Claude Innocent du Pas-
quier, who had obtained from the Emperor Charles VI. an
exclusive privilege for twenty-five years. The more practical
part was conducted by a potter named Stenzel, who is said to have
been a runaway workman from the Meissen manufactory. It
was a private enterprise, and was not successful. The factory
reached its greatest prosperity after it became the property of
the Empire in 1744. and was under the special patronage of
the young Empress, Maria Theresa, Du Pasquier still remaining
director at a salary of 1500 florins a year. Figures and groups
appear to have been modelled about this time, and the sub-
jects for vases, plateaus, and cups and saucers, were taken
from pictures by Boucher, Watteau, Lancret, and Angelica
Kauffmann. With the Court influence to support it, the staff of
VIENNA 415
workmen was increased from 40 in 1750 to 320 in 1780, the

successive directors being Maierhoffer, de Grunbiihel, Joseph
Wolf, and Kessler.
1785 Baron de Sorgenthal was appointed to the director-
In
ship,and his spirited management had a very marked effect upon
the productions of the manufactory, and the period of richly
painted and heavily gilt ornamentation commenced, which has
been termed the "Sorgenthal" period. A clever chemist, one
Leithner, was engaged to prepare special colours, and to improve
the gilding and it is certainly due to his efforts that the famous
;
" rothbrun " was so effective, and the massive relief gilding
applied to the porcelain, made capable of so much minute siuface
chasing and intricate design. The paintings, too, about this time,
and were excellent, the colouring being wondeifuUy
until 1820,
brilliant,and the subjects mostly taken from Angelica Kauff-
mann's, Rubens', or Lancret's pictures. From the year 1784 it
was the custom to stamp the date of its production on each
specimen, in addition to the ordinary fahriqite mark. This was
done by omitting the first two numerals until the 1800 was
reached, when the year was stamped in full, except the first
—
numeral thus 1796 would be shown by 96 being impressed
in the paste, 1806 by the figures 806. Baron Leithner was
director in 1844, and after his retirement the manufactory
declined, until, becoming a burden to the State, it was discon-
tinued in 1864, and the plant sold by public auction, the books
and manuscripts being placed in the Imperial Museum. After
the break-up of the State establishment, a number of the work-
men and artists, formerly employed there, set up small ateliers
on their own account, and continued to produce specimens
similar in character to those of the extinct factory. Some of the
modern paintings are very artistic and show great finish ;
the
gilding is sometimes very good.
These private firms considerably in degrees
vary very
of merit, and of late years an over-decorated, cheaper,
and more tawdry description of Vienna china has been placed
on the market. This would seem to have damaged the sale of
the better class of modern Vienna, and now only the really old
specimens are in any request. Imitations of Vienna china bear-
ing a forged mark have also been made by some Dresden firms
(see notes in Chapter VI.).
The mark, a shield of the arms of Austria, is generally in
blue, under the glaze, but sometimes impressed in the paste.
4i6 VIENNA— VINCENNES
Specimens made previous to 1744 were not marked with the
shield but with various and sometimes the word
signatures,
Vienne or Viennoe and a date. A sumptuous monograph on
this factory entitled Geschichte der K. K. Wiener Porzellan
MauHfaclur, by J. Folnesics and D. E. W. Braun, was
published in 1907, and gives the names of all the chief artists
with facsimiles of their signatures, and also numerous variations
of the shield mark. There are many specimens in the Franks
collection representing the different periods of the factory.
© S ?-o
VINCENNES, Seine.
The history of at Vincennes has much

porcelain-making
interest for the collector. was the most important of the soft-
It
paste factories, and apart from the excellence of the china

produced it is celebrated as being the parent of the great Royal
Sevres factory.
The notice of Chantilly (p. 127) mentions two brothers named
Dubois who left that factory in 1738. They brought the secrets
of porcelain-making to Vincennes, and with the assistance of
M. Orry de Fulvi, Councillor of State and Minister of Finance,
started a factory in the vicinity of the royal chateau. The
Dubois were intemperate, and the same reason which caused
them to leave Chantilly led to their dismissal in 1741 from
Vincennes. An assistant named Gravaut, who had also come
from Chantilly, managed to learn their secrets during their fits of
drunkenness, and persuaded M. de Fulvi to entrust the work to
him. Further assistance was obtained from Chantilly workers,
and Charles Adam was appointed director. In 1745 a special
royal concession was granted to Charles Adam for the manu-
facture of porcelain "de meme qualite que celles qui se font en
Saxe." By this concession many privileges were granted to
Adam, and on the strength of it a company was formed with a
capital of 90,300 livres. Very stringent measures were taken to
prohibit any of the skilled craftsmen from leaving the factory
VINCENNES 417
for rival establishments in and to prevent

other countries,
strangers from acquiring any by bribing the
of tlie secrets
employes. The King's jeweller and modeller Uuplessis, his
Majesty's enameller Mathieu, Hellot a noted chemist, and a man
named Hults, known for his good taste, were all pressed into
service, and the factory entered on a period of prosperity.
In 1753 the King issued an edict conveying a fresh concession
to Adam, granting him the exclusive privilege of porcelain-
making France, exempting the employes from military
in
service, and sanctioning his use of the royal cypher (the L's
interlaced) which had already been adopted as a mark.
It was in this year that the first letter of the alphabet, placed
within the interlaced Us, was employed to indicate the date of

manufacture previous to this time we sometimes find a dot,
;
or less frequently, a rosette, in the space afterwards used for

the letters of the alphabet. In 1756 occurred the removal of the
works from the chateau of Vincennes, to new buildings at Sevres,
where, fostered by the protection and personal interest of the
King, the undertaking became the royal porcelain factory of
Sevres.
The well-known mark of the double interlaced I^'s having the
letters A, B, C within them, is therefore that of the Vincennes
factory for the years 1753,' 1754. I755» while that which has the
D and following letters is the mark of Sevres.
The products of Vincennes from 1745 until 1756, when the
factory was merged in that of Sevres, are highly prized by
collectors.
The paste is beautifully soft, and to use a technical expression
" fat," and the decoration is eminently satisfactory. The rich
blue or b/eii dc roi has a cloudy, unequal appearance, due to the
fact that the pigment was applied with a brush at Sevres it was ;
appHed as a powder, and then fluxed or vitrified in the kiln. The

decoration of the earlier pieces was chiefly copied from Chinese
designs, and sometimes executed entirely in gold, such subjects
as birds of Paradise, or exotic pheasants, being carefully rendered
in that material or in colour. A little later Cupids and children
playing, after Boucher, were represented, and these were painted
and occasionally in red. A speciality of the
en caiiiaicH in blue
Vincennes factory was the manufacture of artificial flowers, the
use of which about 1750 became a craze in Paris it is said that ;
the King gave an order for these ceramic toys to the huge
amount of -^32,000 for the decoration of the chateau of
2 D
4i8 VINCENNES
Madame Pompadour and of other palaces. The royal favourite is
said to have planned a surprise fete at the chateau of Belleville

for Louis XV. in a garden arranged with these artificial flowers,
scented with perfumes.
Specimens of soft-paste Vincennes will be found wherever
there are collections of old Sevres, and several of these are
referred to in the notice on the latter factory.
-^
U
Early marks, "Vincennes."
First date mark, 1753.
Hani-paslc Vincennes.
The manufacture of hard-paste porcelain at Vincennes has a

record quite distinct from that of the manufacture of soft-paste
porcelain at the same place. Pierre Antoine Hannong, the well-
known Strasbourg potter, obtained consent to occupy the vacated
buildings of the soft-paste factory at the ch.ateau of Vincennes
for a factory of hard-paste china, and letters patent were granted
to a nominee of his in 1767 for a term of twenty years, the conces-
sion including the right to manufacture faience. We do not know
much about the conduct or productions of this undertaking, but
apparently it came to an end in 1770, and the factory was then
purchased by a man named Seguin, who under the protection of
the Due de Chartres was permitted to use the title of " Royal
factory of Vincennes," and adopted a heraldic label as a mark.
There is nothing except this mark to distinguish this hard-paste
Vincennes china from the ordinary porcelain of similar quality
common to many French factories.
fi^L \\\X
Established by Han-
HI H 5?*^
I
nong and Le Maire. I
| |
The H. L. stands for ilannong and Ix-maire, who was asso-

ciated with him.
Marks on iiard-paste Vincennes under proprietorship of
VINCENNES— VINOVO 419
S(:-guin, being the monogram of the Due de Chartres. This hibel
is similar to one of the mari^s said to be used on hard-paste
Orleans porcelain [q-v.).
Louis riiilippe, 17S3.

LP
VINOVO, Turin.
We are indebted to Sir A. W. Franks for information re-
specting the earlier history of porcelain-making at this place.
According it was in
to his notice of the fahriquc 1776 that G. V.
Brodel, who had beenunsuccessful at Vische, started a porcelain
factory in the royal castle at Vinovo near Turin. He was assisted
by Pierre Antoine Hannong, one of the famous family of Stras-
bourg potters, but the enterprise was not successful and came to
an end about 1778 or 1780. It was resumed by a Doctor Vittore
Amades Gioanetti, who carried on the factory for a time he :
died in 1815. The porcelain is of a peculiar composition, con-

taining a considerable quantity of silicate of magnesia, and is of
the kind termed by Brongniart a "hybrid" paste. The author
has seen some excellent figures of this make which, being marked
with a X) have been erroneously classed as Bristol. The paste is
entirely different, and is more like very late hard-paste Sevres,
though not so white. Specimens are scarce, and the mark is
found in blue or dark grey, gold, and black. Mr. Chaffers, in
The Keramic Gallery, illustrates an ecuelle cover stand, decor-
ated with the arms of Savoy in gold, and with the full mark
below the cross of Savoy. V stands for Vineuf or Vinovo, and
D. G. are said to be the initials of Gioanetti.
A specimen of similar decoration once belonged to the writer,
and is now in Mr. Borradaile's collection.
The mark of a cross stands for Turin, a plain cross on a shield
being the heraldic device of the city. In the Franks collection
there is a cup decorated with the arms of the King of Sardinia,
bearing this mark.
In the British Museum there is a cup and saucer of this fac-
tory, from the collection of Mr. Fitzhenry, signed " Carassus pinxit."
Baron Davillier mentions a specimen with the Vinovo mark
420 VINOVO— VOLKSTEDT
in black, and Marryat says that he has seen examples with the
Dresden mark.
+
VOLPATO— WALLENDOKF 421
china factory at Kudolstadt, which appears to have been the seat

of government of the principality of Schvvazbiirg-Rudoistadt
(see also notice of Thuringia).
r
VOLPATO, GIOVANNI, Rome.
Giovanni Volpato, who is best known to tlie world of art as a
celebrated engraver, was also a potter, and is said to have worked
both in Venice and Rome. He produced white glazed earthen-
ware of fine qnality, and Chaffers mentions that in 1790 he
employed some twenty modellers. Volpato died in 1803, and
although the works were carried on by Guiseppe his son, and
afterwards by his widow, who married the chief modeller, they
ceased in 1831 owing to the successful competition of other
potteries. Early specimens are marked G. Volpato Roma, but
sometimes one finds G. V. impressed or scratched in the paste.
There is a pair of vases with snake handles painted with
grotesques on a white ground, in the Ashmolean Museum, Oxford,
marked in full as above. The author has seen bas-relief plaques
with classic subjects, and copies of some of Canova's statues
and groups, very carefully executed. Chaffers says that Volpato
introduced the manufacture of hard-paste biscuit china into Rome.
VOYEZ, J.
A
celebrated modeller of figure subjects, employed by Ralph
Wood, Wedgwood, Neale, Adams and other potters. Fine ex-
amples of his carving in ivory are in the Holborne Museum, Bath.
Jugs with groups of figures around a trunk of a tree formed as a
jug are inscribed "J. Voyez " and dated about 1788 (see also
Staffordshire Pottery).
WALLENDORF.
An unimportant factory of the Thuringian group was estab-
lished at Wallendorf in 1762 by a potter named Hammann, who
had made experiments in china-making at Katzhiitte, when further
efforts were forbidden.
422 WALLENDORF— WEDGWOOD
Two members of the Greiner family joined him, and a small
company was formed in 1 764. The factory passed through different
ownerships, and in 1897 was worked by a limited company.
The paste is hard the products were chiefly table services,
;
which are generally decorated with simple blue patterns and a

ribbed surface of the cup or bowl. The mark of W
is interlaced,
and should not be confounded with the W

of Wegely of Berlin
fame. A more cursive W
was also used on some specimens, and
a mark which is an imitation of the Marcolini period of Dresden
(crossed swords with a star between the hilts) was also in use
until it was discontinued upon a vigorous protest from Saxony,
NX/
^x/ 4>
WEDGWOOD.
Josiah Wedgwood, who may termed the greatest
justly be
of English potters, was born at in July 1730, and
Burslem
came of a good old Staffordshire family dating back to the latter
part of the fourteenth century. A Gilbert Wedgwood was work-
ing at Burslem in the seventeenth century, and in the Victoria
and Albert Museum there is a green glazed Puzzle Jug made by
a grandson of his, John Wedgwood, signed and dated 169 1.
Josiah was apprenticed to his elder brother, Thomas, in
November 1744, and served his time with
credit, and after ten years occupied in dif-
ferent ventures, including a short partner-
ship with Thomas Whieldon, he settled at
Burslem, as a potter on his own account,
in 1759, at a place known as Churchyard
Works, and afterwards at Ivy House.
Having, by dint of patient experiment,
succeeded in perfecting a cream-coloured
ware with a beautifully soft glaze and of
light creamy texture, he presented the first
Cup of Wedgwood's blue and
specimen, a caudle and breakfast set, to
white Jasper ware.
Queen Charlotte on the occasion of her
accouchement in 1762. This was a most advantageous, as well
as loyal, presentation. The Queen gave an order for a complete
dinner service, with an appointment as Queen's potter, and the
WEDGWOOD 423
ware was styled, by permission, the gueeii's ware. The King
also patronised Wedgwood with considerable
and his orders,
cream-coloured ware became the fashion.
The decoration of this cream-coloured ware by means of
Lamp of BlaLk Wedgwood (Basaltes) ware {Victoria and Albert Museum).
printing under the glaze was introduced in 1772, and a remark-

able example of this description is the celebrated service which
was manufactured for the Empress Catherine of Russia, having
views of different noblemen's seats in purple, bordered with a
gadroon edge. ^'3000 was paid for this service, which comprised
952 pieces. The decorative work alone is said to have cost Wedg-
424 WEDGWOOD
wood ^2900, and he paid for prints, books, and the preparation
of the plates ^2400, so that he lost heavily by executing the order.
time, Wedgwood took no pains to
Unlike most potters of his
register his invention under a patent, and therefore the manu-
facture of similar ware sprang up in a great number of factories,
and was made in vast quantities, both for home use and export,
Copy of Portland or Barberini Vase, by Josiah \Yedgwood

thus adding to the trade of the country. By-and-by, Wedgwood

took as partner Thomas Wedgwood, a relation, for some time
foreman in the Queen's ware department, and was thus at more
liberty to prosecute experiments on fresh lines, notably those
leading to the production of his celebrated "jasper ware" in
1775-
The chi'f d'auvrc of this beautiful ware was the reproduction
of the celebrated Barberini or Portland vase. At the auction
WEDGWOOD 425
atwhich the Duchess of Portland's fine collection of works of art
was disposed of in 1786, Wedgwood bid as high as ^^looo for the
Wedgwood Vase of blue and white Jasper ware (\'ictoria and Albert Museum).
coveted treasure, which he desired as a model for reproduction in

his jasper ware. The Duke of Portland, however, agreed that
if Wedgwood would no longer oppose his bidding he should
;
426 WEDGWOOD
have the vase for the purpose required, and accordingly it was
linocked down to the Duke at ^1029. The first fifty copies were
subscribed for at ^^"50 each those which are still in existence
;
are good specimens of Wedgwood's skill, and the price realised

at Christie's generally runs from ;£i6o
to ;î8o, but an exceptionally good
specimen in the collection of the late
Dr. Lumsden Propert was sold in 1902
for ;4399' The singular sharpness of
the subjects in relief of these speci-
mens was caused by their being recut
by a lapidary after leaving the mould
they are therefore far superior to the
copies now turned out by the present
firm of Wedgwood. The first copies of
the Portland vase were of black ground,
polished like onyx, to imitate the
original, with the relief in pure white.
These fifty copies were distinguished
by having the niunbers from i to 50
scratched in the paste, and the vase
(illustrated on p. 424) in the Victoria
and Albert Museum is numbered.
The celebrated Etruria works were
opened by Josiah Wedgwood in 1769,
Wedgwood blue and while Jasper
and as he had the year before taken
ware Vase.
into partnership (in the ornamental
department) Thomas Bentley, a merchant of Liverpool, who had
acted as agent in that city, the first specimens produced in the
new works were appropriately " thrown " by the great Josiah in
person, his partner turning the wheel. These were a set of three
vases of Etruscan form, bearing a commemorative inscription.
Bentley 's partnership continued until his death in 1780, and
during these twelve years many of the pieces were marked
" Wedgwood & Bentley."
The engagement Flaxman by Wedgwood has given a
of
distinctive character to productions.
his The majority of fine
pieces were cast from his models, and many of his beautiful
cameo-like classic plaques have never been surpassed. It is
worth remarking that this famous sculptor at one time worked

for the moderate sum of about one guinea a day.
A great many of the very small jasper ware cameo
WEDGWOOD 427
medallions, beads, and tiny pieces of this gem-like finished work
were made for the jewellers of the time to mount in gold for
ladies' wear, and these, with the fine portrait medallions of celeb-
rities of Wedgwood's period, are much prized by collectors.
Besides Flaxman, Wedgwood employed several Italian sculp-
tors and modellers, amongst others Angelini, Dalmazzoni, and
Pacetti, to copy from the gems in the Vatican collection at Rome,
bas-reliefs of such mythological subjects as we are familiar with
on the plaques and vases of jasper ware, which are in every col-
lection of " Wedgwood."
A man named Hackwood is known to have been Wedgwood's
chief modeller for the portrait medallions of poets, statesmen, and
celebrities, and also to have done a great deal of other useful
work. He was evidently a clever man with a touch of genius.
Some of the earlier pieces of jasper were made of the same
colour all through, but subsequently Wedgwood invented a
"jasper dip" which economised the expenditure of cobalt, by
only using the colouring matter for the surface of the " ground."
The subject to be reproduced as a bas-relief was cut into a
mould like an " intaglio," and then the soft white paste was
pressed so that every crevice of this mould was filled. When
this was extracted it was placed on the " ground " of light or
dark blue, black, green, lavender or yellow, to which it was
made fast by moistening with water, and the piece thus mounted
was then baked. Some of these pieces of jasper have not only
the ground colour with white relief, but have a third or even a
fourth colour introduced.
The different kinds of pastes and ware made by Wedgwood
may be taken approximately in the following chronological
order.
From 1759 shaded ware, in imitation of agate and also of
other polychromatic glazes, in fact, pottery much of the same
class as he had learned to make with his former partner, Whieldon,
and which we are familiar with as Whieldon ware.
From 1762, an approximate date, we may trace the
as
manufacture of his celebrated cream-coloured or Queen's
ware already mentioned. This was improved about 1765 by
the invention of a superior glaze known as " Greatbatch's
china glaze."
Burton thinks that this ware was sent by
Mr. William
Wedgwood to the works of Mrs. Warburton at Hotlane to receive
decoration by the process of enamel colouring, which was then
42 8 WEDGWOOD
a novel method, and that later he had this kind of work done
at Chelsea by trade enamellers who worked for him, and after-
wards by men in his own service. The ware was also sent to
Liverpool to be printed by Sadler and Green's new method of
transfer printing.
The black was produced in 1766, but it was not
basalt
until much he made the finest specimens of this ware.
later that
The famous "Wine" and "Water" ewers were modelled by
Flaxman in 1775, and a bill, quoted by Chaffers, which Wedg-
wood paid the famous sculptor for his work included the payment
for these vases. Black basalt ware, or " Basaltes of Egyptian,"
as it was called, had such a hard body that it was capable of being
polished on the lapidary's wheel like an ordinary stone, and it is
to this process that we can attribute the finely-finished surface on
the best pieces.
The ware, called mortar ware, cane-coloured or " bamboo,"
black and black with red, in imitation of the old Greek and Italo-
Greek vases, were also specialities of this great potter, besides
which he made busts in different sizes of the famous men of his
time and also of the classic periods of Greece and Rome. Mr.
Burton mentions also a " bronze encaustic " decoration on a black
body, but as the powder used was only made to adhere by the
use of size, this has by repeated cleanings disappeared save in
the case of a few specimens.
Later, towards the end of his successful career and after
repeated experiments, he produced the famous jasper ware which
has already been described.
Josiah Wedgwood died in January 1795, having honourably
acquired a considerable fortune and the works have since been
;
ably conducted, though on more commercial principles, by

members of the family, many of the old moulds being in daily use.
Many new designs have been added, the services of such eminent
modellers as C. Toft, and of such draughtsmen as Emile
Lessore, having been secured. The chief difference between the
modern and old, is a deficiency in sharpness of outline, and a
roughness of texture in the ground of the former, that is noticed
by connoisseurs.
The paste is not, strictly speaking, porcelain, but it is of so
and some of the finer
close a texture as to be very nearly allied,
wares will break, showing a vitreous-like surface, which almost
entitles them to be called porcelain. True porcelain was for a
short time made at Etruria, but at the commencement of the
WEDGWOOD 429
last century, to owing
the large orders that inundated the
firm after the
conclusion of peace, and consequent revival of
export business, its manufacture was suspended, and was only
recommenced in 1879.
It is quite impossible to do anything like justice to the
work of Josiah Wedgwood in such a brief notice as is convenient
here. There are many excellent works dealing with the
subject which the collector who takes an interest in Wedgwood
should consult. Miss Meteyard's Life of Josiah Wedgwood
Portrait Bust of Josiah Wedgwoocl.
gives numerous interesting Church's Josiah

details. Professor
Wedgwood, Master Potter, is excellent reading. Mr. William
Burton's new work on English Earth.emvare contains a very
good condensed notice, and some very excellent coloured plates
of his different kinds of ware. Mr. F". Rathbone's beautiful
folio, Old Jl'edgwood, is a sumptuous monograph on this
subject, and will convey to the reader some wonderful representa-

tions in facsimile with much original information. Chaffers'
Marks and Mniiograiiis has also a much fuUei' notice of Wedg-
wood than can be given here.
For collections there are the public ones of the British, and
430 WEDGWOOD— WHIELDON
Victoria and Albert Museums, the Mayer collection in the Liverpool
Museum, and a great many beautiful examples collected by Mr.
Hulme and given to the Wedgwood Institute at Burslem; of
private collections that of Mr. Isaac Falcke is probably the
largest and This was recently bequeathed to the nation,
best.
and can now be seen at the British Museum. Lord Tweedmouth
had a magnificent collection which was made by his father this ;
was recently purchased by Mr, William H. Lever, M.P., and is

now suitably housed in a special room in that gentleman's
beautiful Hampstead residence. This collection is peculiarly
interesting because it includes many of the
original models in wax, made by John Flax-
man, R.A., for Wedgwood to reproduce in his
jasper ware.
The mark is the name WEDGWOOD
impressed in the soft clay. Specimens pro-
duced during the partnership of Wedgwood
and Bentley are marked IVedgivood Betitley &
sometimes thus, sometimes in a circle as in the
margin, and one frequently finds a numeral
also impressed under the names. The name
IVedgwood occurs in capitals IVEDGIVOOD,
lower case IVedgwood, occasionally, but rarely,
accompanied by the word Etruria, also in caps
Maik uf Wedtjwood ^nd lower case.
and Bentley.
Amateurs are warned agamst numerous
imitations that bear additions to the name of Wedgwood, how-
ever slight, such as " & Co." Pieces marked thus were never
made at Etruria, and are not genuine.
Some of the later ware decorated by Emile Lessore bears his
name, generally painted in a dull red colour.
Weesp (see Amstel).
WHIELDON.
Thomas Whieldon is a potter who deserves more attention
than has been generally given to his merits by writers on the
subject. He appears to have risen from the lowest rank of
industry entirely by his own exertions. He was in business in
a small way as early as 1740 at Little Fenton, ;ind made knife
handles in agate ware, which ware he subsecjuently improved and
made a speciality, also tea- and colfec-pots in tortoiseshell ware.
WHIELDON 431
The career of this potter is peculiarly interestiiifj from the fact

that so many men who afterwards became notable chiefs of the in-
Coffee-pot of Whieklcin w;iie (\ ictoiia ami Allicit Museum).
dustry were at one time or another his apprentices. Aaron Wood,

famous afterwards for his groups and figures Josiah Spode, the;
Tea-pot of Agate ware (Victoria and Albert Museum).
premier Enghsh porcelain manufacturer of his time, and founder of

the present firm of Copelands William Greatbatch, of whose work
;
432 WHIELDON
the reader will find a full account in Chaffers, and some notices
in other chapters in this book; J.
Barker, Robert Garner, Uriah
Sutton, spent periods in his workshops to learn the trade
all
of potting, and he himself became a partner of the great Josiah

Wedgwood some time before 1759. He died in 1798 at a great
age, after having made a considerable fortune.
Whieldon ware is peculiarly light, and the articles attri-
Twi) Hawks, early Whieldon School, in the coUeclion of Jlr. Frank Falkner.
buted to him are generally well potted. The glaze is also

excellent, highly transparent, and docs not " flake " away from
the body, as it does in many of the figures of his Staffordshire
rivals. The more sought after and distinctive specimens of the
ware which now occupy the collector's attention, are the pieces,
generally elegant little tea-pots or milk-jugs, plates, and other
domestic pieces, known as " tortoiseshell ware," their colour-
ing being brown or mollled in imitation of that material some- ;
times pieces are shaded from brown to green, and one also finds
WINCANTON 433
tea-pots moulded and coloured to represent cauliflowers, melons,
and pineapples. These have been termed his " garden " ware.
Other varieties are known as clouded ware, agate ware, mottled,
and black ware, the which we recognise more
latter similar to that
readily as Jackfield. He also made and figures of hunts-
cradles,
men, soldiers, and others representing various trades. His Toby
jugs are of the best of this kind of ware, and some miniature or
children's toys in pottery are attributed to him. Specimens of
Whieldon ware have lately considerably risen in value. The pair
of birds, one decorated in pale green and the other with brown
glaze, which are illustrated are in Mr. Frank Falkner's collection,
on loan to the Dublin Museum.
WINCANTON, Somersetshire.
A potter named Ireson, who formerly worked at Nuneaton, in
Warwickshire, established at Wincanton, about 1720, a pottery
which achieved considerable local reputation.
Mr. W. P. Ivatts has supplied the author with numerous
press cuttings from old newspapers and some interesting letters re-
specting this pottery, which has been hitherto unnoticed in works
upon ceramics, but which deserves the collector's attention.
The peculiarities of Wincanton pottery are a pinkish under-
glaze and an excellent Delft-like glaze, which resembles that of
Lambeth faience. No doubt from the fact of this pottery being
hitherto quite unrecognised, such pieces as have some English
characteristics and are dated, have been assigned to Lambeth,
while others which have nothing in their decoration to localise
them have been generally classed as old Delft.
Captain Herbert Terry possesses a remarkable pitcher 14
inches high and i 2 inches diameter, of which an illustration is given
on p. 434. Part of the ornamentation is in relief, and the rest,
which is of a varied character, is in greyish-blue colour, including a
battle scene, a general on horseback, tritons, and other figures it ;
also has the signature and date, "Nathaniel Ireson, 1748." The
monogram S I B is said to be the initials of Samuel Ireson Bewesy,
or Busey, who was related to Ireson, and for whom this jug was
made. Captain Terry has traced the possession of it back to some
members of the family. Other pieces in the same collection
have the woVd Wincanton and dates, varying from 1730 to 1740.
There is also a bowl with purple-brown decoration, a cursive
W underneath, and inside the legend, " Drink fair, don't swear."
2 E
434 WINCANTON— WITTEBURG
Major-General Astley Terry has a bowl with the word and date,
" Wincanton, 1738."
These specimens were all purchased from inhabitants in the
Important specimen of Wincanton put!- illection of Captain Herbert Terry.
neighbourhood of the old works, and other fragments have been

found by digging.
Specimens are sometimes signed " G. Ciewitt," with date 1737.
He was a potter in Ireson's employment. There are some
specimens in the Taunton jMuseum.
Wilson (Robert, also David), (see Neale t*t Co.).
WITTEBURG.
One of the smaller German faience fabriqiics
mentioned by Herr Jannike. Very little is known
of it.
WORCESTER 435
Wood, Aaron, Enoch, Ralph, potters (see Staffordshire

Pottery).
WORCESTER.
The "Worcester Porcelain Company" was establislied in 1751
on the initiative of Dr. Wall, a local practitioner of artistic tastes
and high intellectual attainments.
Portrait of Dr. Wall, the founder of the Worcester Miimifactory,

from a woodcut kindly lent by Mr. K. W. Binns.
Very early blue and white printed Worcester Cup

436 WORCESTER
Jjy/ironnJt
Tbtunj //ii/ka7(t
oil tic ma nd /ut
\\ .Qy(tf/icC/nna
Specimens of China Tokens used about 1763, and termed by Mr. Binns
" Curiosities of Currency."
Old Worcester Coffce-pol (Dr. W.tU period), lilue salmon scale ground, ;ind figure
subjects (formerly in the collection of Mr. 1). \V. Macdonakl).
WORCESTER 437
He was a clever practical chemist, interested in the growth of
ceramic industry in this country, and had made many experiments
in his laboratory before bringing their results before the local
gentlemen who then formed the directors of his company. The
mansion that had formerly been the residence of the Warmstrey
family, the site now occupied by Dent's Glove Manufactory, was
purchased for the operations, and these seem to have been
commenced on a considerable scale and very soon were suc-
cessful. The earlier productions were imitations of Chinese
porcelain, and blue on white ground was the first attempted then ;
the more brilliant colours and designs of the Japanese, and later,
the salmon scale ground and rich decoration, which will be
presently referred to more in detail.
Transfer Printing.
Transfer printing was effected by means of impressions from

copper plates, transferred from paper to the china, and was
formerly considered to have been invented by John Sadler, who
secured a patent in 1756, and carried it to Worcester.
Mr. William Burton has, however, given the credit of the first
transfer printing to the Battersea enamel works, where he says
contemporary accounts prove this process of decoration to have
been made use of as early aS:i752— 53 by a clever Frenchman named
Ravenet. Robert Hancock was his pupil, and worked under him
at Battersea until, owing to the bankruptcy of the proprietor. Sir
S. T. Jansen, in 1756, he migrated to Worcester and quickly found
employment. The date 1757 on the well-known "King of
Prussia" mug, which Carlyle has called "the apotheosis in china
of Frederick H.," seems to bear out this contention. Other mugs,
cups, and basins of this time and similar decoration, are those
with portraits of the Marquis of Granby and Iving George II.,
the elder Pitt, with ships, emblems, and inscriptions. Mr. Dyson
Perrins has a very unusual specimen in the form of a vase, 12
inches high, with an equestrian portrait of George II. in coloured
transfer, and a Cupid holding a cap of Liberty with the word
" Liberty." This piece is signed " "Worcester" and also bears
J^ ,
the sign \/'_ (for Holdship). Mr. Binns thought that it was one of
a pair made A specimen mug of transfer decoration
for the King.
in the collection of Mr. Herbert Hughes of Dudley is signed " J.
Sadler, Liverpool," and as the piece is undoubtedly of Worcester
manufacture it would seem that some of this ware was sent- to
438 WORCESTER
Liverpool for decoration by Sadler's new process. Occasionally
transfer decoration occurs in conjunction with enamelled or
painted enrichment, as is the case with the hexagonal vase in the
Worcester Vase of liuNagonal form, yellow ground, with decoration part transfer and
part painted (Schreiber collection, Victoria and Albert Museum).
Schreiber collection illustrated on this page, but the combina-

tion is not artistically successful.
The Schreiber collection is very rich in these early transfer
specimens, and should be carefully studied by the Worcester
collector.
WORCESTER 439
The methods of printing by transfer process at Worcester were
subsequently improved by carefully preparing the copper plate
to be used. It was stippled with fine point, after designs from
Bartolozzi, Cipriani, and other contemporary artists, then coated

with linseed oil in such a way that only the oil remained in the
impression made by the engraver, which was then transferred to
the china. On these oil marks the requisite colour was " dusted,"
and after being carefully manipulated so that no superfluous
.aTTOJLÂHDoQ)
Specimen of copper plate used at Worcester.
colour remained, the china was placed in the kiln. This process
was termed " Bat printing," because bats or blocks of glue were
used as a means of transfer from the copper plates to the china,
instead of the paper or linen used in the earlier method.
Mr. Herbert W. Hughes of Dudley has a Worcester cup and
saucer, in which an exotic bird painted in colours as the centre
is
ornament, while the other decoration is of the ordinary blue

printing :this is a most uncommon combination.
The most usual kind of transfer is that in which the subject
is in black ink, on a plain white ground, but we fmd more rarely,
440 WORCESTER
" coloured " transfer in which other colours are used, the most
favoured one being a kind of violet or puce tint.
By the courtesy of Mr. Haywood, Secretary of the Royal
Worcester Porcelain Company, we are enabled to reproduce
impressions from two of the original copper plates used in the
transfer printing of Worcester porcelain. From these it will be
observed that the plates are engraved the " reverse " way, so that
when the subject was transferred it appeared on the china in its
correct form.
As a general rule, transfer Wôrcester bears no xe.gw\7ix fabriquc
mark, but occasionally the crossed swords occur on specimens.
Robert Hancock was the most skilful engraver employed at
Example of copper plate used at Worcester.
the Worcester factory, and his signature, R. Hancock fecit, and

sometimes the word "Worcester," is to be found on many ex-
jt cellent specimens. Some confusion is caused by the
*" '^ initials of a rival engraver, Richard Holdship, which are
identical, but with the signature of Holdship we generally have a
monogram and an anchor, the latter being a rebus on his name.
There is a plate of transfer Worcester in the Schreiber col-
lection in the Victoria and Albert Museum, which has both signa-
tures, and Mr. Binns of the Worcester factory considered this to
be a proof that Robert Hancock was the engraver of the copper
plate, and that Holdship only executed the transfer or printing
C .- '^
tn St. S O
o „
.£ S'i S
£ « A
WORCESTER 441
process. In tlie Museum Royal Worcester China Works

of the
there is a mug of transfer, the technique of
which is inferior to
the work of Hancock, signed with Holdship's monogram and tiie
anchor, but the word ''Derby" instead of Worcester and as Mr. ;
Llewellyn Jewitt has quoted an agreement between Mr. Duesbury

of Derby and Holdship, it would seem that the specimen was one
which Holdship had decorated when trying to introduce the pro-
cess of transfer-printing at the Derby works. This specimen is
the only one so marked which is known to the author.
Mr. C. W. Dyson Perrins and Major-General Aslley Terry
have each a transfer specimen signed " Ross," and there is a cup
and saucer mentioned in Cliaffcrs signed "J'. l/£uijlies fecil''
The signature of J. Sadler, Liverpool, has already been mentioned.
With regard to the earlier painlcd blue Worcester, as dis-
tinguished from the printed or transfer blue and white, we may
notice that small and curious little marks in blue were sometimes
used in addition to, and sometimes in the absence of, the ordinary
fabrique marks of square seal or crescent these are called work-
;
men's marks, and several of them will be found in the marks at

the end of this notice. It is also interesting to observe that
on painted blue and white specimens, where the crescent mark is
used, it is an open or outlined crescent, instead of the solid one
used on transfer or printed " blue and white." On a blue
and white basket in Mr. Perrins' collection both the outlined
and the solid or shaded crescent appear.
Recent information, founded upon careful analysis of small
portions of a specimen in Mr. C. W. Dyson Perrins' collection,
has caused the authorities of the British Museum to transfer
six specimens of early blue and white china to Worcester which
had hitherto been classed as Bow. They are interesting specimens,
and should be carefully observed by the collector, and those who
would desire fuller information on this subject are referred to
Chaffers, 13th edition, edited by the author, in which the matter
is discussed, or to Mr. R. L. Hobson's recently published sump-
tuous monograph, Worcester Porcelain.

In the analysed fragments the presence of steatite was dis-
covered, and this, while used at Worcester, is known not to have
been present in the Bow paste. is also found in
Confirmation
the existence of an old Worcester mould at the works correspond-
ing with a sauce tureen dated 175 i, which is identical with the
one from which a fragment was broken for analysis. Some of
these specimens bear the mark in the margin which we have been
442 WORCESTER
accustomed to look upon as the monogram of Thomas Frye,
-^.^__ founder of the Bow factory they are now properly :
• ^claimed for Worcester, and the mark is either the one

I which in Chinese writing represents jade or else of an
unidentified Worcester craftsman.
Dr. Wall's Period. —
The best period of the old Worcester china
is that which is known as Dr. Wall's period, and the china richest
in decoration was made from about 1768 to 1783. It was during
this time that the famous blue salmon scale decoration was intro-
duced, with panels of white ground, upon which were painted
(i) figures, (2) exotic birds, and (3) flowers; and rarity and value
is in the order in which the three kinds of decoration are named.
Figure subjects are very scarce. The birds are brilliantly painted
and finished with great care, and the gilding, which forms a scroll
framework to the panels, gives the specimen a very rich effect.
The flowers are also beautifully executed. We find vases, in pairs
and sets of three and five, dessert, and tea and coffee services.
Some groups of shells which were formerly attributed to Plymouth
arenow considered to have been made at Worcester, when the
paste and the treatment of the painted flowers bear out this
view.
The question as to whether figures were made at the Wor-
cester factory at this period is a vexed one. Until recently it was
taken for granted that there were no figures, but lately an old
diary ^
was published, in which a lady, who visited the works in
177 noted the moulding of figures, and even the methods of manu-
1,
facture. There are undoubtedly some figures which it is difficult

to class as Bow, because, although the decoration in general is
similar to the work of that factory, there are certain details, such
as the colour of a scroll or the flowers painted inside the shell, held
by a costumed lady, which coincide with those on well-authenti-
cated Worcester specimens in addition the paste makes us more
;
inclined to assign them to Worcester than to Bow. Mr. Dyson

Perrins has several of these debatable figures, and amongst tliem
some are marked with the " crossed swords," a mark used at
Worcester, but never, so far as the writer knows, at Bow. Mrs.

A. R. Macdonald has also in her collection a group of Mars
bearing the crossed swords mark, and a pair of seated figures of
boy and girl with crescent mark these are probably of Worcester
;
make. Mr. R. L. Hobson, in his valuable monograph, Worcester

'
In Chafters' .^fail-s and Monograms, I3ll> edition (edited by F. Litchfield), there is
a full quotation from this diary, which was ])uljlishcd by Messrs. Longmans & Co.
WORCESTER 443
Porcelain, published in 1910, supports the view as to figures
being made at Worcestei'.
An episode in the history of tlie last period of the Worcester
factory was the employment, about 1765, of some of the china
painters from Chelsea. Mr. William Burton, in his chapter on
" Worcester," quotes an advertisement which appeared in 1768 to
the effect that the " Worcester proprietors have engaged the best
painters from Chelsea, and they can execute orders in the highest
taste and much cheaper than can be afforded by any painter in
London." Mr. Binns was of opinion that one of the effects of Mr.
Sprimont's illness and inability to give proper attention to busi-
ness, was the migration of those painters from the Chelsea works.
The fine coffee-pot, illustrated on page 436, is painted in the
Chelsea manner, and so are all the figure-subjects of similar char-
acter. To those who are well acquainted with the Chelsea models
of Arcadian figures playing lutes, this class of subject-painting will
be readily recognised as differing from the ordinary Worcester
decoration, but it is only in the filling of the cartouche or panel that
the Chelsea style prevails. The mould of the piece, the ground-
work of rich salmon scale, and the shape of the panels, remain of
the Worcester type : it is the subject-painting which we trace to
the from Chelsea. This Chelsea school of decoration
artists
should not be confounded with the work of the outside artists, of
which there is some notice on p. 448.
Another characteristic decoration of this, the best time of the
factory, was what is called the " powder blue " ground. This deep
blue colour was imitated from the Oriental china, and the Wor-
cester artists managed to obtain a charming effect. The ground
colour is generally relieved with fan-shaped panels, on which are
birds and flowers, while sometimes there is a round medallion,
in the centre of which is a group of flowers, or a bird. 'J'his
kind of Worcester is never marked. Other colours were a

charming green, a yellow, and very rarely, a pink-salmon scale,
and, still more scarce, a rich crimson-lake ground colour.
As an indication of the rarity of this crimson-lake colour as a
ground, the author only remembers having seen some half-a-dozen
specimens. Mr. Drane of Cardiff has a good cup, and in the
Dudley Macdonald collection these were four pieces a basin, —
tray, and cup and saucer. These were once the property of the
author's father, and were sold by him in 1850 with several other
articles for ^30 to Mr. Robert Napier, the famous shipbuilder.
Subsequently they were in the collection of Mr. Dudley Ward
444 WORCESTER
Macdonald, which was sold at Christie's in 1900, and were pur-
chased by the author for ;^25o, subsequently passing into the
collection of Mr. C. VV. Dyson Perrins.
As some guide to the date when the beautiful canary-yellow
ground colour was first used there are two specimens in Mr.
Drane's collection which are of interest. One of these is a
cylindrical mug contaijiing 2 J pints decorated with the yellow
ground and a silhouette portrait of Dr. Wall with date 1759.
This probably a memorial piece made twenty years after the date
is
of his marriage and also of his commencing practice, but it makes

us cetiain that the yellow ground colour was in use previous to
1759. A cup and saucer with the same yellow ground colour
has every appearance of being some few years earlier than the
mug, but it is not dated.
A very beautiful dessert service, believed to be unique, of
twenty-four plates, six baskets, and six dishes, decorated with
flowers, but having this rare and beautiful crimson-lake introduced
into the borders, was also purchased for _îoi8 by the author at
the sale of Sir Henry Hope Edwards' collection in 1901, and
specimens are now in the Harry
collection of Mr. Perrins, Mr.
Manfield, Lady
Hughes, Mr. Ralph Lambton, Mr. Neville
Chamberlain, Mr. Herbert Hughes, Mr. R. D. Turner, Mr. Robert
Drane, and some other amateurs, the service having been divided
into cabinet specimens. When the green ground Worcester is
marked, which it very seldom is, specimens bear the crossed
swords and a dot between the hilts, an imitation of an old Dresden
mark. Some of the best private collections of Worcester china
are those of Mr. C. W. Dyson Perrins, Mr. John Cockshutt,
Mr. Frank Lloyd, Mrs. Rhodes, and Mr. Ralph Lambton, who
acquired some of the best specimens at the sale of Mr, Alfred
Trapnell's collection in 1899.
The paste of the Worcester china of Dr. Wall's period varies.
The first made is of a dense character, and when held up to the
light shows a Later soap-rock was used in the
slight greenish tint.
composition, which then became less dense and of a yellowish
tint. The glaze is invariably level, and free from the blotchy
appearance sometimes observed on early Chelsea and Bow speci-
mens. A peculiarity, too, of the Worcester glaze is that in the
great majority of specimens a shrinkage may be observed to
have taken place just inside the bottom rim of the piece. If a
finely-pointed lead pencil be drawn round the inside of this rim, it

will make a black mark where there is this absence of glaze. With
r
y, —
.2
I
WORCESTER 445
very few exceptions every article made at the Worcester factory
will be found to have been skilfully potted and carefully decorated.
Flight & —
Ban- Period. The management of the Worcester
works received a severe blow by the death of the founder, Dr.
Wall, in 1776, and in 1783 Mr. T. Flight, a merchant of Bread
Street, City, purchased the whole concern for the sum of ^^3000
;
on his taking Barr into partnership, ten years later, the firm
Specimen of Worcester of the Barr, Flight, & Barr period, lornicrly

in the collection of Mr. D. W. Macdonald.
became Flight & Barr, and many specimens are now to be found
bearing the name in full, also the initials B. F. B. (Barr, Flight,
and Barr) impressed in the paste or occasionally roughly scratched.
Some excellent work was turned out by P'light & Barr great ;
attention was paid to gilding and finish but fashion had altered,
;
and the shapes were more like those which we now class as
" Empire." King George III. and Queen Charlotte gave the works
great encouragement, and the prefix " Royal " was adopted by per-
mission. A famous dessert service made for the Duke of Clarence,
446 WORCESTER
afterwards William IV., in which the figure of Hope and an anchor
are prominent features, dates from this time. John Pennington I
painted this service. Baxter was the most famous artist of this
period, and painted subjects from Shakespeare, allegorical figures,
and illustrations of poems and plays. Billingsley of Derby and
Nantgarw fame also painted flower subjects. The London house
for the sale of Worcester china in Flight & Barr's time was No. i
Coventry Street.
Joseph Flight died in 1829, after which Martin and George
Barr, proprietors, used the marks of Flight, Barr, & Barr until
1840.
The Chamberlains Period. —
Robert Chamberlain, who had been
an apprentice at the Worcester works, left them, and, with his
brother Humphrey, started business in High Street, Worcester,
and achieved considerable success —
the wages in one year
amounting to nearly ^5000, and the value of gold used in orna-
mentation to about ;^90o. Lord Nelson visited the factory on
August 2, 1802, and presentation services were ordered for him
to be presented by the ladies of England. Nelson died before
the completion of the order, but the breakfast service was finished,
and as it long since passed out of the possession of the family,
specimens are in the cabinets of the different Worcester collectors,
and occasionally come into the market.
Another of these Nelson services was that presented to him
after the battle of Copenhagen, which bears the dates of his
battles: "Nile," " Baltic," and " St. Vincent." Chamberlain also
made for King Wîlliam IV., members of the royal
services
family, and various high officers of State, and for the City Cor-
porations specimen plates of these handsome services are to be
;
seen in the Museum of the Royal Worcester Works. Mr. C.

Wentworth Wass had an interesting collection of royal, historical,
and armorial china, and this included several specimen plates
of the services made by Chamberlain for royal and notable
"
personages, amongst them some pieces of the famous " Nelson
services.
The painting of figure subjects in Chamberlain's Worcester
is very carefully executed, the gilding rich, and the finish alto-
gether of high excellence, although of course the taste is quite
different from that of the old " Dr.
Wall " Worcester which we
have already noticed.
In the year 1840 the two firms of Flight & Barr and
Chamberlains amalgamated, and the work was carried on until
WORCESTER 447
1847, when partnership ceased, and for some five years
the
Walter Chamberhiin and John and Frederick Lily continued the
business.
Messrs. Kerr & Binns were proprietors of the works from
1852 until 1862, when the present company, entitled the Royal
Worcester Porcelain Company, was foimed with Mr. Binns as
managing director, and some influential local gentlemen as
SPECIMEN OF WORCESTER. CHAMBERLAINS PERIOD.

Pattern of Breakfast Service made fur H.R. H. Princess
Charlotte on her Marriage.
directors and shareholders. Mr. Binns retired in 1897, and has

since died, and Mr. Evans, formerly secretary, is now managing
director. Great improvements have been made in the buildings
and plant, and the manufacture of modern Worcester is carried
on upon a very large scale. The designs and decorations are,
however, upon entirely different lines from the old style, and
though excellent of their kind, scarcely interest the collector of
old china. An illustration of modern Worcester is given in
Chapter IV.
448 WORCESTER
Of the comparatively modern work done at Worcester, the
enamel painting by Mr. Thomas Bott, which has been
beautiful
termed "Worcester Limoges," claims attention. This was in-
troduced during the proprietorship of Messrs. Kerr & Binns,
and specimens are in considerable demand by collectors.
Grainger's IVorcestcr. — Another Worcester factory upon a
small scale had also been established in 1800 by Mr. Thomas
Grainger, a nephew of Humphrey Chamberlain, and the mark
of Grainger's Wôrcester, and of Grainger, Lee, & Co., is found
upon china painted and finished much in the same style as
Chamberlain's Worcester. This work was executed from 1800
until 1846.
In the year 1889 Grainger's old works were acquired by
the present company and continued by them on the original site.
Another firm which after a short existence was incoiporated
with the Royal Worcester Porcelain Company, is that of James
Hadley & Sons. James Hadley was principal modeller for many
years at the old works, and left in 1896 to start manufacturing
on his own account, with three of his sons, under the above title,
but at his death in 1903 the Royal Porcelain Company acquired
the business. Hadley's mark for the short term of his firm's
existence was a monogram combining the letters J. H. & S.
Their work never reached a high standard.
Locke s Worceslcr. —
In the year 1895 Edward Locke, who
had for many years been employed at the Worcester works as
modeller, set up for himself and made moulds similar to those
of the parent factory. These were at first sold as Locke's
Worcester. Later, owing to the suppression of the word Locke
and the injury thus sustained by the Royal Wôrcester works,
the latter took legal action, and in the result Mr. Justice Byrne
decided entirely in favoiu" of the original company.
Worcester painted by Outside Artists. —Apart from the Wor-
cester china decorated at the works, there appears to have been
a certain number of pieces of china sold by the factory in the
white and decorated by artists. In the collection of the late
Baron Rothschild there was a remarkable set of vases painted
by an artist named John Donaldson, and Mr. Dyson Perrins has
also some magnificent specimens attributed to the same hand.
Donaldson worked from 1765 to 1770, and some of his pieces
are signed with his initials,
J.
D.
Another famous artist, whose work has been but little known
and appreciated, was one named O'Neale, and a remarkably
WORCESTER 449
fine set of important vases in Mr. C. W. Dyson Pcrrins'
tliree
collection, of which we give a full-page illustration, are signed
by him (" O'Neale pinxi"). Another pair of vases in the same
collection, with studius of /Eneas bearing Anchises, and of the
Rape of Helen, signed by the same artist with the addition of the
year 1769, gives us the date of these fine specimens, and the time
when O'Neale worked. At the sale of Mr. J. E. Nightingale's
collection (December 19 11) a coffee cup and saucer by this artist
realised ^^33, 12s.
In addition to the work of Donaldson and O'Neale, a "china
and enamel painter" named John Giles, of Kentish Town, seems
to have bought the Worcester china in the white, and to have
decorated and re-fired it. In the Public Acivciiisrr of January
28, 1768, appeared an announcement to the effect that J. Giles
had opened a warehouse in Cockspur Street, London, where could
be seen Worcester porcelain " curiously painted in the Dresden,
Chelsea, and Chinese tastes." It is pretty evident that Giles
carried on an extensive business, and the fact that he decorated

his goods in styles different from those of the orthodox factory
manner, accounts for the " puzzles " which occasionally tiu-n up
to perplex the expert and collector.
One effect of Giles' advertising his wares would seem to be
the more energetic advertisement by the original factory of their
employment of the Chelsea painters, which appeared about this
time, and the reference to " any painter in London " without
doubt alluded to this opposition.
There is in the Sheldon collection a blue painted cup and saucer-
with a blue crescent mark, supposed to have
been decorated in colours and gilded by Giles.
The cup and saucer are marked with a Chinese
seal (differing on cup and saucer) in red, the
blue crescent shoiviiig through the red seal on the
cup, while on the saucer it is separate from
the seal. Giles worked from about 1756 to
1780, but during the last ten years the busi-
ness was carried on by James Giles, probably
a son of JJohn. Giles became involved in
with crescent show-
II u 1-
financial difficulties, and eventually sold his
Mark
ing through the seal.
stock and plant to Duesbury of Derby.

Occasionally signatures are found of other artists who either
were never employed at the works, or who had left the works,
and having bought the white china, painted it and marked it
2 F
450 WORCESTER
with their names. Of these, the work of C. C. Fogo, who painted
landscapes and Chinese scenes, is much sought after by Wor-
cester collectors.
We may conclude this notice by observing that, since a
previous edition of this book was published in 1900, the prices of
Old Worcester porcelain have materially appreciated. At the
Trapnell sale in July 1899 a fine vase painted by Donaldson
realised £70;}, los., and a pair of tea-cups and saucers, salmon
scale blue ground, with Watteau figures (very scarce), ;£i57, los.
SPECIMENS OF WORCESTER.
Group of specimens of various descriptions.
At the sale of the late Mr. Gilbert's collection (May 1904) a

single tea-cup was sold for £120; in December 191 1 a two-
handled cup and saucer of this rare decoration (Watteau figures)
brought ^223, I2S., and a dessert plate with panels of these same
figures was sold at Christie's in November 191 1 for £147 • At
some recent sales at Christie's, pairs of Worcester vases, of hexa-
gonal form, about 15 inches high, with exotic birds and blue
salmon scale decoration, have fetched as much as -^1600, while
similar vases 12 inches high realised 950 guineas. Ordinary
dessert plates, of similar decoration, which ten years ago brought
;Î2, have sold for ^'30 each, while those with flowers in the
WORCESTER PORCELAIN (late pkriod).
Ice-pail with the Arms of Lord Nelson and the names of some of his victories.
In the collection of Mr. F. A. Crisp, F.S..\.

WORCESTER 451
panels, instead of birds, have also doubled in price from about

;^8 or £10 to -^'20 and ^25 when the specimens have been good
in quality and brilliant in decoration. Specimens with the favourite
" apple green " ground colour command an ever-increasing price.
At the sale of Mr. J. E. Nightingale's collection (December 1911)
an oviform vase of this ground colour with panels of birds, only
8i inches high, sold for £2Jt,.
The Worcester coffee-pot illustrated on page 436 cost Mr.
Macdonald -^50 in 1889-90, and realised at the sale of his
collection in 1901, £'i^Z- Some further reference to these prices
of Worcester porcelain, will be found in the chapter on "Values
and Prices."
The reader who is especially interested in the collection of
Old Worcester porcelain is recommended to consult the recently
published monograph by Mr. R. L. Hobson, entitled JVotrcslcr
Porcelain. It is sumptuously illustrated, and the latest edition
of Chaffers' Marks and Monograms, revised by the author, will

be found to contain a great deal of information about the history
and productions of this important factory.
Various Marks of Worcester Porcelain Factory during the

Dr. JVall Period.
^ :t5 I ^ ^ ® 9f,
.-.
A /? ^v
"/
^ ^ J:' cc c:^
452 WORCESTER
^ 7^ \(/ H f rr\
c
The above are workmen's marks, sometimes used in addition
to the ordinary/rt/^;/(7«c mark of square seal or crescent, generally
on painted blue and white Worcester of the early period.

In the notice on " Bow " following the illustration of several
of these workmen's marks, the reader will find a note which
should be referred to. The writer has seen the majority of these
workmen's marks on specimens which he considers to have been
made at Bow. It is possible that some of the workmen migrated
'
from one factory to the other. The crescents with faces and
letters are also claimed by some experts for Caughley. When such
marks occur on very sparsely decorated blue and white specimens,
it is very difficult to be positive in attributing correctly.
Q
m
o
C i
w The square mark of which
v.^ricties.
Ihcre arc other
WORCESTER 453
W.P.C.
This mark is claimed
for Derby.
These "Dresden" marks occur in great

variety on early Worcester speci mens. Some-
times the crossed swords have the dot be-
tween the hills, while the numbers between
t
These marks of Oriental characters occur in
the points of the swords differ on various great variety, being copies of old marks on
specimens. Chinese porcelain of the Ming dynasty.
All the marks given cm pp. 451-53 were in use previous to 17S0.
Noie. —
The crescent very rarely occurs in gold. It is found
on a dessert service painted in fruits, with a charming border
in gold and colours, which was in the collection of H.R.H.
the Duke of Cambridge, sold at Christie's in June 1904. It is
said that this gold crescent was put on services made for members
of the royal family, and the fact of this one having been made
for the Duchess of Gloucester, rather bears out this contention.
Some of the plates of this service had, in addition to the gold
crescent, a crescent impressed in the paste. The printed W
is very rare, and is found as a rule on specimens of particu-
larly fine quality. On
exceptional pieces fwo marks, seal and
crescent, are found, and also the seal mark in blue and crescent
in red. A note as to these combined marks will be found on
p. 449.
The mark in the margin in blue is on the covers, and also on
the bottom of one of the baskets of a pair of baskets, covers, and
stands, with trellis pattern and flowers in relief in Mr. — ^
Dyson Perrins' collection. The companion basket is t\^
marked with the Chelsea anchor in red, a mark found v/

occasionally on pieces of undoubted Worcester make.
WORCESTER
454
Worcester.
R. Hancock, engraver, circa 1758, This mark is
w
AA
given by Mr. R. W. Binns
{A Ceiitiiiy of Pottivg, p. 346), as occurring
on jugs belonging to the Corporation of
Worcester. They are emblazoned with the
city arms and dated 1757. The bowls also
belonging to the Corporation, are of much
later date (1792).
Worcester, ^rark of Richard Hold-

ship, about 1758, on transfer ware.
^
Imitation of the Chantilly mark.
Monogram of John Donaldson, painter of

Worcester China. See pp. 44S-9.
These two marks are given by Mr. Hobson

as occurring on Worcester. They are appar-
ently copies of the Tournay and Fiirstenburg
Imitation of Sevres mark. marks.
The marks as given above are rather exceptional than general,

and occur upon few specimens. Curious marks (not given here)
are also sometimes found on pieces of Worcester porcelain, the
decoration of which is copied from " blue and white " Oriental
china ;such marks are evidently careless imitations of those upon
the specimens copied. The Chelsea anchor also occurs upon at
least a dozen specimens known to the author.
v5^
7^
(L
7 C^/) t^îcir^r
'A C.2 PW
"< o
W 5 - a
H
r.
U
:c
VVORC
Used between 1793 and 1803.

456 WORCESTER — WROTHAM
Mark previous
Worcester. to 1862. Mark since 1S62.
Messrs. Kevr & Binns, 1X52 to 1862.
The "51" in the centre of each circle
stands for 175I1 the first year that porcelain
was made at Worcester.
WROTHAM, Kent.
Potteries are said to have existed at or near Wrotham (pro-

nounced Rootham), in Kent, in the early part of the seventeenth
century. Specimens which can safely be ascribed to this early
period are rare, and unless they bear upon them some indication
of their origin, such as the word " Wrotham," there is little to
A Posset-pot of Wrotham ware, from Professor Chiircli's English Earthenware.
distinguish them from other brown ware decorated by the old

"slip" They are generally " tygs," "posset cups,"
process.
bowls, or dishes, and are similar to what is more generally known
as " Toft " ware. (See also Toft.)
WROTHAM— ZELL 457
According to Mr. J.
Eliot who wrote a
Hodgkin, F.S.A.,
fascinating work on early English
dated pottery, the earliest
dated specimen of Wrotham ware bears date 161 2 and the latest
1710. The dates and also the designs, which generally consist of
letters and similar ornament to that shown on the illustration
above, yellow slip, sometimes with an incised pattern, on a
is in
ground of coarse reddish-brown pottery highly glazed. There
are some good specimens in the British Museum, among them a
dish with the initials I. E. W.
E. and date 1699. The reader
will find further particulars of several notable specimens in the
latest (13th) edition of Chaffers, revised by the author.
YARMOUTH.
There seems little reason to doubt that the so-called "Yarmouth
ware " was not made there. Various kinds of earthenware were
procured from the makers, from Staffordshire or Leeds, some
pieces bearing the marks of Staffordshire potters and these ;
were decorated with fruit, flowers, and the like, by various members
of a family named Absolon. The business seems to have lieen
started by W. Absolon late in the last century. Their name is
always painted. The arrow, which is not infrequently found ac-
companying Absolon's mark, is no doubt that of the maker of
the ware.
A correspondent has called the author's attention to a speci-
men of cream-coloured ware which he has seen, Ihat has the
name "Wedgwood" impressed, and also the words "Absolon
Yarm " painted.
/f^c/mmtm
/ ~^
Impressed.
ZELL, Austria.
Pottery resembling in many respects Wedgwood's Queen's
ware, or Leeds ware, was made here early in the nineteenth
century. The mark is the word ZELL stamped. Herr Jiinnike
458 ZELL—ZURICH
gives these two marks as those of the modern factories of Haager,
Hdrth & Co. and C. Schaaf, 1845.
ZURICH, Switzerland.
The exact date of the establishment of a porcelain factory
here is unknown, but 1759 has been ascribed as a probable date,
and a well-known specimen is in existence dated 1765. A cele-
brated Swiss painter and poet, Salomon Gessner, took great
personal interest in the success of this factory, and not only
designed but painted many of the specimens. A German refugee
named Sonnenschein modelled the figures, which it may be

observed are generally clever and characteristic, and some of the
best Zurich artists lent to the undertaking the support of their
assistance and influence. The colour of the paste, which is hard,
is a greyish-white, and the painting, generally in landscape, is
finely executed. The mark under the glaze is of a dark blackish-

blue, or of a soft light blue colour.Imitations, of which there are
many, have white paste, carelessly finished decoration, and bright
blue mark. These are made at German factories, and sold to
travellers in Swiss towns, and collectors should beware of them.
The factory declined and closed about the time of the French
invasion, 1799, and specimens are very rare. Sir Henry Angst, a
gentleman residing in Zurich and H.B.M. Consul, has made a very
interesting collection of nearly 1000 specimens of this factory,
which he has presented to the National Museum at Zurich, and it
is to his kindness and enthusiasm that the author is indebted for
much of the information contained in this notice.

Pottery was also made at Zurich, and there are some speci-
mens in the Sevres Museum which were presented by the director
of the works. The mark was a 2 similar to that on Zurich porce-
lain. Chaffers also gives this in combination with the letter B.
ZWEIBRiJCKEN 459
ZWEIBRUCKEN or PFALZ-ZWEIBRUKEN,
Rhenish Bavaria.
A hard-paste porcelain factory existed liere in the latter part
of the nineteenth century, and a specimen in the Munich Museum
is described by Professor Hofmann in his catalogue of that collec-
tion. The mark given here was previously attributed

erroneously to Strasbourg. Only table services of an
ordinary character appear to have been made here,
and it is surprising that it should have been thought
worth while to pubhsh an expensive monograph on
this factory,which was issued by the Leipzig press in 1907. Ac-
cording to was founded in 1740, under
this authority the factory
the protection of Christian IV., Duke of Anhalt, and existed until
his death in 1775.
MMM-
Design on the li.ick of the plate of a

service made Queen Victoria hy the
for
Royal Worcester Porcelain Company.
CHAPTER VIII
J13otc0 anil oBvplanationg
OME of the terms used in tlie foregoing

chapters, apart from their ordinary mean-
ings, have others of a somewhat technical
nature in connection with ceramics. There
are also a few minor subjects, about which
some information would have been offered,
but for the fact that its insertion would
have interfered with the form in which this
work has been cast.
An alphabetical arrangement of such terms, with a descriptive
meaning attached, may be of use for reference.
Aiiioriui. —
An Italian term, often found in descriptions of
ceramic decoration, signifying " Cupids."
Amphora —The name

of a vase used by the ancient Greeks
for domestic purposes, and also for coffins when employed for the
;
latter purpose, they were made in halves, and after the insertion
of the remains, were re-joined. (See Ancient Pottery, pages 4, 5.)
Antique. — This
word denotes no particular date, but is gener-
ally applied to those monuments of ancient Greek and Roman art
that have been handed down to us. It is obviously incorrect to
apply the term to porcelain which has been made within the last
two hundred years, and yet we continually see in the catalogues
of auctioneers, and of collectors and dealers, such expressions
as "antique" Worcester china or "antique" Chelsea, and so on.
Atelier. —Our word " studio " almost exactly expresses its
meaning.
Basaltes or Basalt black. —The term applied to a stoneware

made by Josiah Wedgwood and imitated by the Leeds potters,
—
NOTES AND EXPLANATIONS 461
by Spode, Turner and others. It is black throii<;liout, of ^reat

density and hardness, and the name is taken from an Egyptian
black rock called Basalt.
Bat Piiii/ing.— This process is described in the notice of the

Worcester factory, Chapter VII.
Beaker. —The derivation of this word would show its reference

to a drinking-ciip, as distinguished from a tankard, but the term
is almost exclusively employed to designate a peculiar form of
Chinese or Japanese vase, cylindrical except at its mouth, where
it widens, like the large end of a trumpet. The "sets" of Chinese
and Japanese vases generally consist of five i.e. three jars and
covers, and two " beakers."
Bc'itilier. —A small vessel for holding holy water. Generally in

the form of a saint or angel holding a shell.
Biscuit. —
This term is applied to unglazed porcelain. The
appearance of biscuit china is aptly described by Chaffers as like
a new clay tobacco-pipe without the least gloss upon it. It
means literally twice cooked. Strictly speaking, the term "biscuit"

can be applied to any unglazed ware, such as a common flower-
pot, but the term is not used in this sense by collectors of, or
dealers in, rare porcelains. By " biscuit " china we mean the
pure white unglazed porcelain. Sevres biscuit is extremely fine,
and Derby biscuit runs it very close. Some excellent biscuit china
was also made at Meissen about the Marcolini period. There
is a collection of different kinds of biscuit china at Knole
House, Sevenoaks, formed long ago by the Duchess of Dorset.
(See also Kilu.)
Bistre. —
A pigment of a warm brown colour of different tints,
prepared from the soot of wood, that of the beech being preferred.
Specimens of old Frankenthal and other German factories are
found decorated " en bistre,"
Byzantine. —This style of decoration is the elaboration of

Oriental detail, grafted upon classic forms, and was in vogue
among the Romans, after the removal of their seat of empire to
Constantinople.
462 NOTES AND EXPLANATIONS
Cabaret. —The literal meaning of this P'rench word is an inn
or public-house, but the term is used in connection with ceramics
to describe a small dejeuner or h'le-a-lcte service, generally
composed of a plateau (q.v.), one or two cups and saucers,
and the other pieces of china forming the set.
Calcareous Clay. —A clay which contains an unusual quantity

of lime, used extensively for the body of Delft ware.
Cania'i'eii. — Painting " en camaien "

is understood to be executed
in a single colour, variedonly by the use of its different shades

to heighten the effect. An old Sevres vase of rich^;o5 bleu ground,
with a medallion painted " encama'ieu" on white ground, gives one
of the best effects produced by that famous factory.
Can. —A cup of cylindrical form ; this shape has been a

favourite one for cups at the Sevres manufactory.
Celadon. —This
term was originally applied only to Oriental
porcelain, ofwhich the decoration was peculiar in having a pale
sea-green colour mixed with the paste before firing, and so pro-
ducing an effect perfectly distinguishable from that where the
colours have been afterwards applied. The object was probably
to imitate the jade of similar colour, a stone very much in favour
with the Chinese. Latterly the French, and some of our English
factories, have adopted this form of decoration, and such pieces
are also called celadon.
The name is said to have been derived from the hero of the
popular novel L Aslrce, written by Honort!; d'Urfe in the seven-
teenth century. The colour was supposed to have the peculiar
faculty of detecting poison. It is the earliest colour produced by
Chinese potters, and dates from the Sung dynasty, A.D. 960-1279.
Ceramic. —
Derived from the Greek word Kcranios, meaning
clay, and therefore used in the designation of all articles made of
that material. The work is spelt also Keramic, taking its deriva-
tion direct from the Greek instead of through the French medium
Cerainique.
Cliiaro-uscuro. —A
term used to describe the kind of painting
which relates to and shade. A specimen is said to be
light
painted in chiaro-osciiro when different shades of only one colour
are used. A good example of this class of painting is the set of

twelve Delia Robbia plates representing the months, which are in
Clay. — (See Kaolin.)
Clobbered. —Thisterm is applied to china or earthenware

which has been re-decorated, generally and
in blues, greens, reds,
gold, over the original more simple blue decoration, the article
then having been re-fired. This kind of work was extensively
done both in Holland and in England about sixty years ago.
(See also notice on Chinese Porcelain, Chapter VII.)
Colours. — These are applied to the unglazcd or glazed surface

of the porcelain, according to the nature of the metallic oxide
employed, some being unable to bear intense heat without volati-
lising. The preparation is made liy the metallic oxide being
ground down with fusible glasses, which, when applied to the
porcelain and placed in the kiln, melt and adhere to the surface.
Gold is applied in a state of amalgam, ground in turpentine,
and afterwards burnished with agates.
Blues are made from cobalt, the shades being varied by the
addition of oxides of tin and zinc white, from arsenic and tin
; ;
and so on. (See also Kiln.)

It will be noticed that all colours applied to pottery or porce-
lain arc mineral, not vegetable.
'Crackle. — (See notice on Chinese Pottery.)
Craze. — An appearar^ce somewhat resembling crackle, but

produced by the china being withdrawn from the kiln before it
has been allowed to cool, or by a defect in the firing. This
appearance is not infrequent in pieces of old Chelsea and Crown
Derby.
Crouch ivarc. —This term was applied to the ware made early in
the eighteenth century, from a whitish Derbyshire clay which
before its adoption by potters had been used by glass-makers.
As the potting industry progressed this Crouch clay was aban-

doned for superior material found at Poole in Dorset, in Corn-
wall, and other parts of England. Mr. W. Burton says that
there is a greenish tint in this old Crouch ware caused by traces
of chemical impurity left in the clay.
Dealers. —The where old china is sold,
multiplication of shops,
that has taken place under this heading was
since the notice
originally written in 1878 is remarkable. Both in London and
the provinces one finds everywhere an assortment of some kind of
" old china " for sale, while most of our large stores have followed
the fashion by adding a so-called "Antique Department."
In a special chapter on " Hints and Cautions" the author
has attempted to assist the amateur in his selection of a firm with
whom to deal he will here only repeat the well-known legal
;
maxim, Caveat cmplur.

Seventy or eighty years ago the trade in the then modern
artistic porcelain was very limited, and that in old china was con-
fined to a few dealers, such as Baldock & Hitchcock of Hanway
Street, or Hanway Yard, as it was then known Fogg & Isaacs of ;
Kegent Street, Owen, and Town & Emanuel of Bond Street, with
Bentley, Jarmin, and Forest, some of whose names a few very
old collectors now living may recollect. Some ten years or so
later, Samuel Litchfield (the writer's father), Samuel Willson,
grandfather of the members of the present firm of Willson
Brothers in Pall Mall, and one or two others commenced
business, while the past twenty or thirty years have seen very
numerous additions to the list.
Until i860, when Government duty on foreign porcelain was

abolished, the importation of artistic porcelain was carried on
with great difficulty.^ The importer had to exhibit each con-
signment for the inspection of custom-house officers, and if his
own valuation was considered too low, a trade opinion would
be taken, and the importation, divided into small lots suitable
for private buyers, would be sold by auction, the importer only
receiving a small profit upon the valuation he had given.
Ardent tariff reformers are apt to forget the troubles of an
importer, when the question of a tax has to be settled and the
Custom House officers satisfied.
The abolition of the East India Company's monopoly of
Eastern trade in 1858 had also a great effect upon the traffic
in foreign china, letting in quantities of Chinese porcelain, which
had hitherto been rare and expensive, and gradually bringing
about the special Eastern manufacture for the European markets.
Previous to this, a considerable sale had been found for what
' The duly on foreign porcelain was, vintil its reduction by Sir Roliert I'ecl, as mucl) as
thirty per cent., but was then reduced to ten per cent., and ultimately removed by Mr.
Gladstone in i860.
was technically called " clobbered china," that is, blue and white
Chinese porcelain, painted over in more attractive colours (accord-
ing to the taste of the day), and re-iired, a process which the
composition of Chinese porcelain renders possible.
Some twenty or twenty-five of the London dealers have very
large sums locked up in their stocks. It is a business that could
not possibly be carried on successfully unless the dealer is

possessed of a natural taste for the subject, and, in addition,
adequate capital. Perhaps enthusiasm engenders a weakness for
continual purchases that in many cases leads to an accumulation
of stock so great that sales provide only a very moderate interest
on the invested capital.
Enamel. —A vitrilrable composition used for coating pottery,

and applied to the glaze after firing. The term is also used to
describe the kind of Oriental porcelain, in which the colour stands
out in slight relief from the surface. Chinese porcelain known
as "old green enamel" is valuable and rare. (See notice on
Chinese Porcelain.)
Fabriqiic. —The private establishment of a master potter of

the Renaissance period, a meaning that the word " factory " or
" pottery " fails to convey exactly. For want of a better word
fabriqxte is frequently used as an alternative to " pottery " in a larger
and more liberal sense than its real meaning warrants.
Faience or Fayence. — The origin of the term is either the name

of the town Faenza near Bologna, or of Fayence in France,
where majolica was manufactured. Like the term " Delft," how-
ever, it has come to designate all kinds of artistic pottery.
Fictile. —
The term applied to all ancient pottery,from the
commonest products in clay to the highest form of the art.
Ceramic has a very similar meaning.
Flambe. —The term applied to pottery or porcelain which de-

pends for its decorative effect, upon the cloudy or shaded and
mottled colour of the glaze. The Chinese were the first to pro-
duce these highly effective and telling bits of ceramic colour, but
lately the processes have been adopted in France and England.
Flambe, or, as it is sometimes called, "flashed" porcelain, when
of the really old Ming period, is very valuable. This kind of
2 G
decoration has lately been revived by our modern English potters,
among whom Bernard Moore, W. Howson Taylor, and William
Burton as director of Pilkington's Pottery Co. may be specially
named.
Flux. — Glass in a fusible state containing lead or borax, and

added to colouring metallic oxides to fuse them to the glaze in
the process of enamelling.
Fresco. — Painting al fresco is the execution of a design upon

wet or fresh ground, and requires considerable skill, as it cannot
be retouched or corrected.
Frit. —
An imperfectly vitrified mass, formed by the partial
fusion of sand and fluxes, used in the composition of " soft " or
artificial porcelain to give it transparence. The frit may be
suitable or unsuitable for its purpose, and upon this the success
of the potter will depend. Frit is also used in the glazes of
porcelain.
Glaze. —The glaze for covering the biscuit (see Biscuit) is
composed of elements similar to those of glass ; that for pottery

isopaque, as made from lead or tin, and silex while that for ;
common stoneware is produced by the decomposition of salt.

The simplest and oldest form of glaze is a pure silicate of soda ;
the addition of oxide of lead made the glaze more fusible, but
less hard and durable. This has been termed a plumbiferous
glaze, and was used at a very early date. Many other chemical
mixtures have been adopted by different potters to obtain suit-
able glazes for their ware. (See also notice on Salt-glaze
Pottery.)
Greybeard. —A name applied to a kind of stoneware drinking-

jug, used in the sixteenthand seventeenth centuries, ornamented
with a bearded face in relief on the upper part of the spout.
(See also notes in Chapter II.)
Grisaille. — Literally means " grey " ; a kind of painting by

which solid bodies arc represented, the different tints of grey
being employed to give the effect of relief.
Ironstone China and IVare.—A very fine pottery closely resem-

bling porcelain, made in England tlie best ; known is that wliicii
bears the mark, " Mason's Ironstone China."
Jasper Ware. —The name given to a specially prepared ware

of Josiah Wedgwood's. (See Wkdgwoou, Chapter VII.)
—
Porcelain clay which, with felspar, unites to make
Kaolin.
the product known as porcelain. Kaolin is prepared for the
potter's use by being subjected, on an inclined plane, to a constant
fall of water which washes it into a trench, whence it is con-
ducted to a series of " catchpits " that serve to relieve the matter
of impurities. The clay is then allowed to settle in tanks or
ponds, and the superfluous water withdrawn by drainage. The
clay is then cut into pieces of nine inches to a foot square, and
dried under sheltered huts, whence it is conveyed to the potteries.
The finest clay in England is that procured from Cornwall. The
clay used for pottery is found in Devonshire and Dorsetshire
(Poole), and is of a coarser nature. (See also Petuntse.)
Kiln. —
Common pottery kilns are destitute of interior fittings,
while those used for the better kinds have shelves and partitions
to keep the pieces separate while firing. With porcelain kilns,
however, the extra precaution is taken of using saggars or
crucibles made of the strongest clay, to resist the action of the
fire, and protect the pieces enclosed. The firing is perfected
in three processes —
the first, in which the piece is subjected to a
,very high temperature, transforms the paste into a biscuit (see
Biscuit), the second is the glazing process, and the third is that of
fixing the colours by vitrification. (See also Glazing.)
Kirin. — A mythical animal used in the decoration of Japanese

pottery and porcelain. (See notice on Japan, page 223.)
Knock-out. —This is a slang term for what is really a syndicate

of dealers formed to purchase upon terms ad-
at public auctions
vantageous to themselves. The system is often inveighed against,
and appears to be but little understood, the present instance
probably being almost the only one in which an explanation has
been published.^
The dealers who intend putting in their claim to the lot in
question, abstain from competing, and it is knocked down to one
' Since this note appeared in the original edition of Pottery and Poiie/aiii, published in
1878, it has been quoted by many writers with and also without acknowledgment.
"

of their number, generally the senior, if he is enabled to bid
a higher price than any other purchaser present. They then
adjourn to a convenient place and hold, as it were, a kind of
private auction among themselves.
Thus A., having bought Lot loo for £io, B., C, D., E. would
offer an advance of say £2. A., however, thinking the article
worth more, or perhaps having a special customer for it, would
refuse this and make a further bid of ^"i. Any one of the number
who still felt speculatively inclined could continue to advance until
all his opponents retired, upon which he would pay them out their
shares in money. Thus, for the sake of explanation, let us suppose

that the utmost trade value of the lot was reached when A.
virtually offered ;î3. B., C, D., E. would now withdraw, upon
which the advance of £2, in which they had all participated,
would be divided into five portions of 8s. each, which A. would
pay out, saving his own share, and so, with the payment of the
^10 to the auctioneer, holding the lot at .£^11, 12s. instead
of paying ;£i2, 12s., which he must have bid had he been
opposed in the public sale by the four other dealers who required
the lot.
Before a final settlement of an important lot is made, there

may be several successive " knock-outs " thus, supposing that
;
twenty individuals composed the first or general syndicate, the

greater number would probably retire and take their shares when
a moderate advance was reached. Some six or seven would have
a fresh " deal " after the others had
retired, two or three of these
would " go out " at a further advance, and the final " tussle
would then take place between A. and B., or A., B., and C, when
the one who finally held the lot would pay out afresh the shares
of his latest opponent or opponents. In many cases the game of
" Knock-out " may
be compared to that of " Poker."
In some instances where articles of great value are sold, and
members of the general public present at the sale are ignorant of
their worth, considerable sums are "knocked out."
That such combinations cause a heavy loss to the estates
entitled to benefit by the proceeds of a sale, is evident, but it
must be borne in mind that it is often the fault of an auctioneer
whose knowledge of works of art is very deficient and his clients ;
would be considerably benefited were he to seek the advice of

a reliable expert, who, for a moderate fee, would give him an
opinion or valuation of the goods he did not understand. The
form a syndicate can scarcely be disputed, for
right of dealers to
they, instead of others in whom they arc not interested, gain the
benefit of their judgment. The system, however, is a bad one,
and has become further abused by the participation of dealers

who are not bond fide purchasers, but join merely for the sake of
taking out their " shares " in money, and in these cases the
"knock-out" becomes a game of "bluffing," the result of which
is that the bona fide purchaser has to pay away profits to a number
of the trade who haunt the salerooms for the purpose of levying a
species of blackmail.
Kylin. —A
Chinese monster, something between a lion and a
dog, saidbe an emblem of good fortune, and
to a favourite
ornament on Chinese pottery and porcelain.
Lustred Ware. — See notice on Majolica, also special notice

on English Lustre Ware in Chapter VII. under Lustred Ware.
Parian. — Differing only from biscuit by the employment of a

felspar, that fused at a lower temperature
is its invention was;
arrived at by experiments undertaken with a view to produce a

peculiar kind of biscuit. The greatest care and skill are required
in modelling figures and groups of this material, on account of the
liquid state of the paste and the great amount (20 to 25 per cent.)
,of shrinkage, which takes place in firing. (See also notice on
Spode.)
Paste. —The body or paste is the amalgam of felspar and

kaolin, that the material of which the potter forms his vessel
is,
as distinguished from the glaze. Thus one may say, " This has
a good fat' body, but a poor thin glaze, or is made of poor body
'
but has a good glaze." The paste may be hard or soft, or, to
adopt the French terms, pdtc teudre or pale dure. It used to be
said that hard paste could not be scratched or indented by a

steel file, while soft paste was easily injured by any sharp instru-
ment firmly pressed along its surface. The old Sevres factory,
and group of small factories which were absorbed when
also the
the was made the royal factory of Louis XV.,
undertaking
such as Mene^y, Sceaux Penthievre, St. Cloud, Chantilly, and the
like, all made
the soft or really artificial porcelain, while the
Orientals, the Chinese and Japanese, also Dresden, Berlin, and
i.e.
the majority of European ceramic factories, made " hard " or true
porcelain.
Within the past sixty years or so the manufacture of porcelain
has been altered by the mixing of bone ash and other materials, so
that different degrees of hardness and softness have been produced
and one can no longer divide the paste or body of which china
is made into the two classes of hard and soft.
In Chapter III. on Porcelain the reader will find more

explanatory notes on the difference between hard and soft paste.
In the case of Sevres porcelain, soft paste was made up to
the time of the Great Revolution, and then hard paste until the
present time the terms tendre and di'irc are useful to dis-
;
tinguish the two different kinds of manufacture. The chief

artistic advantage of soft paste is that the colours sink in, so
that the effect is softer and infinitely more delicate, while in the
hard paste the decoration seems to remain entirely on the surface.
(See also notice on Sevres Porcelain.)
Pate siir pale. —

The name given to a process in which a
decoration was executed in slip (q.v-) while the piece was still
unfired. Marc Louis Solon when employed by Mintons made
this method a speciality. (See notice on MiNTONS.)
Patina. —
The incrustation which was formed, in the course
of on antique medals or bronzes. It has been a vexed
time,
question lately, whether the surface of porcelain is, in process
of time, subjected to some chemical action of the atmosphere,
resulting in reduction of glaze, and also of a slight change in
colour. The experienced in exactly imitating the bluish

difficulty
white of the old Nankin, and of peculiar tints of white in the
grounds of other fabriques, has caused this question of patma to
be raised respecting porcelain.
Petuntse. —
Known by its English name of felspar. It results
from the disintegration of granite, and is used with kaolin (see
Kaolin) to produce porcelain felspar differing from kaolin in this
;
important feature, that it is fusible at great heat and melts in the

furnace into a white milky glass.
Photographv is now used as a decoration for porcelain. By

means of a printing process, portraits may be easily transferred
on to a cup or plate, and by some variations of colour, a pretty
effect is produced.
Plateau. —The china stand or tray used for a tea or coffee-

service. Inmost of the old ceramic factories, we find a favourite
form of service was the dejeuner, or letc-d-tele service, consistinj^ of
milk and coffee or tea-pot, siicrier, two cups and saucers, and tiie
" plateau." Many plateaus are very fine specimens, and appear
to have scarcely been intended to be hidden liy the pieces they
were made to hold. An effective way of usinj^ them for present
decoration is to mount them on velvet shields, with the other
pieces grouped around them on little brackets.
Pottery. —
The term applied to all ware that is distinguished
from porcelain by being opaque and not translucent. Modern
English pottery has lately been made so fine in texture, and
finished so highly, with such a good glaze, that it approaches
very closely to porcelain. The term " pottery," covers earthen-
ware and stoneware.
Printing. — Printing is now very largely applied to earthen-

ware for domestic use, especially to the common sorts made in
England. Its invention is of disputed authorship, but took place
about the year 1757. The process was a simple one. Transfer
papers engraved from copper plates were applied to the ware,
the ink being mixed with linseed oil, which evaporated in the
baking, and left the colour of which it was the vehicle, on the
surface.
The famous "Frederick of Prussia" mugs and some of the
Liverpool ware are the most notable examples of early English
printing, the productions of the Creil factory, where the French
adopted the process, belonging to a period some twenty years later.
(See notice on Worcester.)
Saggar. —A vessel of refractory material in which are enclosed

articles of delicate pottery to protect them from injury by the
flames in the kiln. (See Kiln.)
Saniian Ware. — Strictly speaking, this should mean the

ware manufactured Samos, but the term was used
in the island of
for some of the Roman pottery which was sufficiently good to
be classed with it. The Samian potters were celebrated about
900 B.C. (See also Chapter I., Ancient Pottery.)
Seau, Sfeatix. —A French word meaning literally " pail " or

" bucket " ; in ceramic art the term means an ice-pail, or
similar vessel, generally used as a flower-pot.
S/ip. —The liquid mixture of clay fluid reduced to the con-

sistency of cream. In early attempts at fictile decoration what
is now called the " slip " process was much used. The coarse
clay vessel, when partly fired, was coated over with this clayish
fluid, and then baked. (See Slip Decorated Ware.)
Sgraffialo IVare. — See Chapter II.
Spurs. —
The peculiar marks, generally three in number,
frequently found on Chelsea china, are made by the "spurs,"
which were little pieces of refractory clay used as supports to the
article during the process of firing the glaze. The marks are
left where the spurs are broken away.
Stoiieivare. — Generally speaking, stoneware is a very hard kind

of earthenware which, when fired, is sufficiently solid and homo-
geneous to be impervious to liquids without glazing. There
are, however, several kinds of glazed stoneware, the glaze being
sometimes composed of lead but more commonly of salt. (See
Salt-glaze Pottery, Chapter VII.)
Tiles. —The earliest attempts at ceramic art included enamelled

tiles,and specimens have been found in the ruins of Nineveh,
Babylon, Persia, and Arabia. The fortress-palaces of the Moors
contained abundant specimens of this kind of brilliant mural
decoration. In our own time the manufacture of encaustic
tiles has become a department of national trade (see MiNTOXS,
&c., &c.). The old Dutch tiles, of which copies are now made
in Holland, are very grotesque, the subjects being mostly scrip-
tural, but so rough in finish, and with such primitive attempts
at literal illustrations of texts, as really to form caricatures of
the subjects they would represent.
Tondiiu), pi. Tondiui. —

A round plate with a flat rim and a
sunken centre. The most celebrated toudini were those produced
at Faenza in Italy, in the fifteenth and sixteenth centuries. The
rim is generally decorated in grotesques and scrolls, while in the
centre is a coat of arms or a single figure. (See also notice on
Majolica.)
Tyg. —A two-handled drinking-cup used in the seventeenth
century for posset. Tygs are found in shp-decorated ware. (See
notice of Wrotham.)
Underglase. — Painting and

also printing was executed on tlie
bisniit body preliminary firing, and previt)us to glazing.
after
The process of underglaze printing was first practised at the
Worcester factory about 1775—80.
CHAPTER IX
€)n Oaluciff anD Pricc0
T was once said by a wit, " Tiiere are some

people wlio know the price of everything
and the vakie of nothing." Certainly price
has often very httle relation to value. A
very high price may represent good value,
and a low price for rubbish may be far
in excess of its value. Quotations from
auctioneers' catalogues, unless they are of
the same specimens sold at different dates,
and therefore useful for comparison of change in fashion
or demand, are not safe guides, since the omission of a slight
detail in the description, is apt to suggest a misleading inference.
Such quotations, however, possess some value, and are of interest
to many collectors, and in the new edition of Chaffers the
author has given a fairly representative price list from the sales
of the past six years. For the purpose of this chapter it will be
sufBcient to make remarks of a more general character on the
values and tendency of prices.
Collectors are now much better informed than they were
formerly, and with the increase of wealth in England and in
other countries, there has developed a demand for specimens of
pottery or porcelain of high quality and undoubted authenticity,
at prices which show an enormous advance on those of twenty
or five-and-twenty years ago.
Such grand specimens as the faniille verte vase in the Salting
collection, which is said to have cost its late owner .^looo,
would now probably realise more than ten times that amount.
This high price would be partly accounted for by its merits, and
partly by the interest of the public in a specimen from so cele-
brated a collection. The Celadon vase, i6J inches high, which in
the Octavius Coope sale (May 19 lo) brought the enormous price
of _^47oo, is scarcely a criterion, since the fine quality of the old
ON VALUES AND PRICES 475
Louis Quinze bronze mounting must ;iccount for a proportion of
this sum. It would be easy to quote instances of the payment of
prices as remarkable for exceptional specimens of Sevres, Dresden,

Chelsea, and other varieties of highly prized porcelain, but no useful
purpose will be served by a detailed discussion of the sensational
sums which wealthy collectors are willing to give for remarkable
examples of great value. Few can afford to buy them, nor are
moderate sized houses and cabinets quite suitable for the recep-
tion of such royal guests as a black ground K'ang-hsi vase, a
St. Porchaire tazza, a Caffaggiolo plate of ^2000 value, and
other similar gros lots. Collectors of limited means must be
content to admire such highly priced treasures in the show cases
of our own and foreign museums, where the generosity of a
Salting or a Pierpoint Morgan enables us to see them for
nothing, just as we can admire the view of a country estate which
we are never likely to possess.
The suggestions put forward in this chapter with some diffi-
dence, are intended for those amateurs whose pleasure it is to
acquire, from time to time, specimens of the ceramic factories
of the past, at prices which come within the possibilities of not
unlimited resources.
An indifferent specimen,whether it be a Chelsea figure, a
Bow group, or a Dresden cup and saucer, does not increase in
value in anything approaching the same ratio as a fine and really
desirable example. Such a specimen as is suggested by the
word " indifferent," if purchased twenty years ago, would now
probably realise about the same amount as it cost then, unless it
happened to form some link of interest in a methodically made
collection, where it exemplified a particular kind of ware made
at the factory of which it was a representative.
Two instances which bear out this statement may be given.
In the sale of Mr. Octavius Coope's collection (May 1910), there
happened to be two lots which had formerly belonged to the
writer. A set of charming figures of the Seasons in Derby-
Chelsea porcelain, in exceptional condition, was bought at Christie's
about fifteen years ago for 36 guineas, and a pair of figures repre-
senting Shakespeare and Milton for 10 guineas. At the recent
sale the latter only realised _îi, os. 6d., because figures of this
model are by no means uncommon and the quality was poor.
The "Seasons" were eagerly competed for, and realised £g2, 8s.
It is not intended by the above remarks to convey the idea
that it is impossible for the collector to purchase satisfactory

476 ON VALUES AND PRICES
specimens for moderate sums on the contrary, it is quite possible,
;
even in these days of high prices, to acquire by careful selection,

and without lavish expenditure, examples of different factories
which would satisfy a fastidious critic but the collector must be
;
content with a iiiodcs/ specimen, good in quality and condition,

and the best of Us particular class and kind. Personally the writer
would prefer to give, say £6 or £'] for a well-tnodelled and well-
coloured Staffordshire figure, rather than the same sum for an
indifferent Chelsea figure, which if it were of the best quality
should be worth £2^, but being what it is, neither worthily re-
presents the factory of which it is an example, nor good value
for moneyspent.
In the chapter on " Hints and Cautions " something has been
said about the " quality " of specimens, and unless the reader has,
by a combination of intuition and experience, come to realise
what this means, it is useless to consider the question of price
and value. A Chelsea figure of Cupid some three inches high
may be one of those waxy little images of a naked little boy
embowered in encrusted flowers, crude and rough, the worst type
of Chelsea, or it may be a charming statuette of Cupid in one of
the many costumes in which that artistic little vagabond is wont
to disguise himself, gracefully modelled, carefully finished, and
decorated with effective colourings, a little Chelsea gem of Roubil-
lac's time. Fifteen shillings would be a high price for the former ;
the latter would be cheap, as current prices tend, for ^^lo or £12.
A pair of little figures of high quality Chelsea, not quite 4 inches
high, marked with the gold anchor, were sold at Christie's (April
191 1) for 32 guineas.
Surely a simple Sevres cup and saucer, of fine white soft
paste, decorated with blue lines, and two or three detached
blossoms exquisitely rendered, marked correctly with date-year
and decorator's sign, is infinitely to be preferred at the price of
£^ or -^"5 to some showy and unsatisfactory piece with ground

colour of turquoise or poniiiic vertr, of doubtful decoration, which
one buys as " a bargain " for the same amount, not because it is
really admirable, but because of an
impression that it is similar
to a specimen which, one remembers, fetched 20 or 30 guineas
at Christie's.
A Excellence," already insisted upon by the
" Standard of
writer in " Hints and Cautions," must be set up by the amateur,
and any candidate for the honour of admission to the "cabinet"
must satisfy its conditions. The only way to obtain success and
satisfaction in collecting —
satisfaction not only of the ;esthetic
sense but also of the desire for makin« a profitable investment is —
to exercise restraint in avoiding the mediocre, and to display courage
in giving what may seem a comparatively high price for a perfect
albeit a modest specimen of its kind. It may sound paradoxical,
but the writer's long experience leads him to believe that it is
from an investment point of view,
true, that the best collections,
have been made by those who have kept their commercial instincts
quite subordinate to their aesthetic sense when making their
purchases. The records of many collections prove this, and the
recently published diaries of Lady Charlotte Schreiber, read by
the light of the present money value of the specimens which
she bequeathed to the Victoria and Albert Museum, give a striking
illustration of the fact that if the best examples available are
acquired at the fair market price of the day, time and the in-
creased scarcity and demand will work out a table of compound
interest on the capital invested.
To may be added some notes on the
these explanatory hints
tendency of prices for some of the different kinds of pottery and
porcelain which have come under the writer's observation.
Chinese Porcelain. —The different periods of the manufacture

of Chinese porcelain are now better understood than formerly,
and as specimens of Ming, K'ang-hsi, and Ch'ien Lung are now
classified and recognised, prices are more in accordance with
age and quality than they were a few years ago. The sensational
prices of fine black ground faiuillc noire vases have already been
alluded to, and such small specimens as a vase-shaped cup and
saucer of this scarce decoration will readily sell for -^15 or ;^2 0.
k fmnille verle bottle 18 inches high recently brought 220 guineas,
while a complete set of live jars and beakers of this description
produced ^2730. Specimens of Ch'ien Lung bring very good
but not such high prices as those of the earlier dynasties, but it
may be said generally that good Chinese porcelain is gradually
rising in value.
The best " blue and white " is in great demand, while poor
quality specimens, whether "blue and white" or polychromatic, are
bought rather for furnishing and decoration than for collections,
and do not increase in value.
Self-coloured Chinese bottles, vases, and bowls, also ihe /lambe
ware of the same kind, when the forms and colours are good,
bring high prices, especially for the rarer colours, A pair of crushed
strawberry bottles 8 inches high were recently sold for ;^8o, and a
rare piece, such as a fish or some unusual example of turquoise
or jade green, would realise ;îoo or more. The notice on
Chinese porcelain in Chapter VII. includes descriptions of the
different varieties.
English Pottery. —The few undoubted examples of early " slip-

decorated " ware, such as Toft dishes or Wrotham posset-pots,
have risen in value enormously. A Toft dish which twenty years
ago would have sold for ^15 or ;^20, will now bring from _^5o
to ;£ioo, and a Wrotham dated piece which one could have
bought in the eighties for £t-0, is now worth ^"40 or ;^5o.
There was a representative example of this ware sold in the
Willett sale (April 19 10), when the slip-decorated posset-pot by
Richard Mier, inscribed with his name and date " 1708," realised
;4'56, 14s.
The best-known Staffordshire potters' work is now distinguished
from the commoner and later ware, and good figures made by
Ralph Wood, father and son, Enoch Wood, and other contem-
porary potters whose work has been described in Chapter VII.,
bring double and treble the prices of fifteen or twenty years ago.
Whieldon's figures are in greater demand, a pair of statuettes
attributed to him, of mottled green and tortoiseshell decoration
lOg inches high, realised at Christie's (Nov. 1910) £,2iT, i6s. In
the same sale a good equestrian figure by Ralph Wood fetched
^42, and a statuette of Sir Walter Raleigh £21.
Whieldon's garden ware, such as the cauliflower pattern tea-
pots, which could formerly be bought for 50s., now realise 7 or 8
guineas, and the tortoiseshell plates command 30s. instead of a third
of that sum, as was the case twenty years since. A poor specimen of
Wedgwood, or a weak example of many other Staffordshire makers,
remains without any particular market, unless it be that the mark
is wanted by some collector who devotes his attention to complet-
ing a list of English potters' signs. The better kind of English

"salt glaze" has received special notice in Chapter VII. Prices
have increased rapidly for this dainty ceramic work, and a tea-pot
with coloured decoration and a portrait of the King of Prussia
recently realised 50 guineas the writer remembers purchasing a
;
similar one twenty years ago for 8 guineas. In the sale of Lady
Bateman Scott's collection (February 1910) a fine jug of this
salt glazed ware painted in coloured figures, with blue diapered
border, realised the high price of £'j<^, 12s. One would certainly
have been able to buy such a piece fifteen or twenty years ago for
less than _£2o.
Figures in salt glaze, particularly those enriched with colour,
are very rare, and the price is always high. A little statuette of
this kind, in Eastern costume with a blue coat and a turban,
was sold in Lady Bateman Scott's collection for ;^"3i, los. 11
was only 5I inches high.
The prices of one or two other classes of English pottery may
be briefly noticed. Lambeth Delft is now better understood and
no longer confounded with Dutch faience, and the same may be
said of the English faience made at Bristol and at Wincanton and
some other places. The price obtained at the Sir John Evans
sale (Feb. 191 1) for the set of plates, " What is a merrie man ? " has
been noticed in Chapter VII., but the most important example of
Lambeth which has been offered lately was the interesting oval
dish in the same collection, which realised £6S, 5s. It was of
Palissy design modelled with Venus and Cupid in relief, and
decorated with the arms of the City of London and of the
N
Embroiderers' Company. It also bore the initials R E and
date 1661.
A pair of mugs of Liverpool ware with portraits of George III.
and Queen Charlotte, with the royal arms, signed " J. Sadler, Liver-
pool," were sold in the Merton Thorns sale (P'eb. 19 10) for £^2.
Eiiglish Porcelain. — Speaking generally, it is the specimens of

a decorative characterwhich have increased in value. The fine
Worcester china having a ground of dark blue salmon scale, apple
green, powder blue, or the extremely rare pink scale is in great
demand at ever-increasing prices. Plates with flower paintings in
the panels and blue salmon scale ground, which twenty years ago
sold for ^5, now bring ^15 and ;^2o, while those with exotic birds
instead of flowers have risen in price from ^^8 and ^10 to ;^30.
A pair of hexagonal vases of this kind of Worcester, with panels of
birds 15 inches high, recently realised 900 guineas. The writer re-
members buying a similar pair about fifteen years ago for ;^400. A
single vase of this kind 13 j inches high with panels of Chinese
figures realised ;£640 in the Firbank sale (1909). A fine dessert
service of Worcester, with claret colouring in the borders of the
plates and was bought by the author at the Hope-Edwards
dishes,
sale in 1901 for ^"1018, which gave an average of ^18 per plate.
At recent sales single plates of this same service have fetched ;^30,
and while many similar instances could be given, in no case can
48o ON VALUES AND PRICES
one quote a serious set-back in the value of really good decorative
Worcester. Specimens of the later periods of the factory, such
as the Flight & Barr, Chamberlain, Grainger and contemporary
work, which when the author was a young man were considered
to be too recent to interest the collector of old china, and which
when offered for sale in the seventies realised trifling sums, are
now in considerable demand, and bring substantial prices. A good
Flight & Barr vase painted with a subject by Baxter some 8 inches
high will sell for ^15 or ;^20, and a Chamberlain cup and saucer
with coloured ground and good painting will fetch £'] to £'i-0.
A vase of this make painted with a portrait of Mrs. Siddons as the
Tragic Muse, dark blue ground and gilt, 20J inches high, was sold
at Christie's (May 1909) for ;^68, 5s.
Fine examples of Chelsea, Bow, Longton Hall, and Derby,
when offered for sale, give us similar results, while the more
ordinary kinds, as already mentioned, remain without material
alteration in value. The pair of groups of Seasons of Chelsea,
by Roubillac, which were sold at Christie's in February 191 1 for
900 guineas, are similar to a pair bought by the author twelve
years ago for ;£45o, while the enormous price of ;î837, los.
recently given by Mr. Amor for Lagrcable Lc<;on establishes a
record for auction prices of Chelsea groups. (These specimens
are described and illustrated in Chapter VII.)
A few quotations from recent sales of specimens of English
porcelain may be added.
A
pair of Chelsea square-shaped vases,
high (Octavius Coope
pair of vases, gold, lake,
sale, May 1910) ....
pink ground, 13!
and tmquoise decoration, Lord

in.
£\'ii>o o o
Amherst's collection (sold 1908) 672 o o

A pair of bottles, mottled blue ground, satyrs' heads,
formerly at the J. Cheetham Cockshutt collection (sold
1909) 126 5 o
Pair of bowl-shaped cups, gold ground (Waller sale, 1910) 267 15 o
Pair of pear-shaped vases, dark mottled blue ground, i6i in.
high 1890 o o
A fine group by Roubillac oi Lagrcable Leôn, \^\ in. high,
sold May 4, 1910 1837 10 o
In the case of Bow china we find the same tendency to give

increasingly high prices for anything exceptional, and this was
exemplified in the sale of an especially fine pair of figures of this
make some 9 inches high which realised ^£86, as. in the Merton
Thoms They were unusually
sale. delicate for this rather
clumsy and thick make of china.
ON VALUES AND I'KICKS 481
Bristol porcelain is keenly contested for by collectors on

account of the few specimens which are offered. The Merton
Thorns collection, sold in February 19 10, contained some good
examples, and the prices showed considerable advance on former
sales. The group of Venus and Adonis, illustrated by Jewitt,
fetched ;î89, and a pair of cups and saucers with simple green
laurel festoons, which in the Edkins sale twenty years ago sold
for ^10, realised 25 guineas. A remarkable instance of the
increase in value of a specimen of Bristol may be given in the
auction history of the tea-pot of the famous Burke service, of
which the reader will see an illustration under the notice of
Bristol in Chapter VII.
In 1870 a Mrs. Nugent, who had inherited the service
from Mrs. Burke's only child, sold the whole service, which
included tea-pot, stand, milk-jug, saucers, and twenty-four cups
with twelve saucers, for ;^535. Mr. Walker, a dealer of Bath,
sold part of the service at Sotheby's in J 871, and the tea-pot
was bought by Mr. VVareham for ;î90 and resold by him for
^210. It appeared at Christie's in June 1876 in the col-
lection of Mr. W. Romaine Callender, M.P., was bought for
;^2i5, 5s. by Mr. Rathbone, and was resold to a Manchester
collector. In 1907 it was again sold at Christie's for ^^440,
and afterwards purchased by Mr. Trapnell for ;^'5oo, and
joins other parts of the same service in this exceptionally fine
collection.
At the sale of the late Mr. F. E. Nightingale's collection in
December 191 1, a tea-cup and saucer of this famous service
realised £179 at Christie's.
While these pages are being corrected for the press the author
is informed that the Trapnell collection, comprising about 1200
specimens of Bristol porcelain and pottery, and including examples

of Bristol glass, has been sold cii bloc to Mr. Amor of St. James's
Street. As this is the only collection in the world of so many
representative examples of hard-paste English porcelain, it is to
be hoped that either the whole, or at least a major portion of
it, may be purchased by an Englishman and retained in this
country.
The following rare marks, which occur on some specimens in
the Trapnell collection, should be included in those of the factory,
next to those which have already been given in the notice on Bristol
in Chapter VII.
2 H
X
The price of 4.53, iis. Longton Hall figure of
for a tine
a sportsman with dog and gun
an example of the extra value
is
given to an unusual specimen. If this figure had been of Bow
or Chelsea, it would proliably have realised less than half the

amount, because although such an important figure is rare in
Longton Hall, it would be more ordinary in the other two makes
of china.
Lowestoft china, freed from illusions by recent information,
and now recognised as the work of a factory which did not pro-
duce the numerous examples of Oriental china which were
formerly attributed to its output, is still one of the coveted
possessions of the collector, and when a specimen of undoubted
genuineness is offered which has some character, such as the mug
in the Merton Thoms collection, with view of seaport and light-
house, a good price will be given. This specimen sold for
;^75, I2S. A great many less important specimens in the
collection brought sums ranging from 21s. to 20 guineas.
It may be remarked in passing with regard to the Merton Thoms
sale that better prices would have ruled generally if there had
not been so many specimens of poor quality. Mr. Merton Thoms
was a somewhat omnivorous buyer, and the result of the " water-
ing " of a good collection is remarked upon here, to illustrate the
author's views on injudicious purchases. Many other sales might be
quoted to point to the same argument. If the collection be made
with judgment, and indifferent examples, poor in quality, cracked

and restored, can be avoided, the result of a sale when the time
comes for realisation, will be much more satisfactory.
A special demand
has arisen within the past few years for Nant-
garw and Swansea porcelain, some of the collectors being rich men
who reside in the neighbourhood of Swansea and take an interest in
1
the porcelain of this district. Genuine specimens of these factories

are rare, and prices have lately risen enormously. Plates of pure
white ground line soft paste (Nantgarw), with simple flower-
painted decoration, which could have been bought ten or twelve
years ago for ^5 or ^'6, now realise ;^25, and tiie demand increases,
especially for those specimens which are believed to have been
decorated at the factory, and not sold as white china to I>ondon
and other places, and decorated there before being resold.
The prices realised for specimens of some (.[uite unimportant
English factories are out of all proportion to their merits, and are
only justified by some special circumstance, sucli as an imusual
mark or extreme rarity. An instance of this may be given in the
recent sale of a flower-pot of Church Gresley cliina for /.'20,
and similar examples could be multiplied.
—
Those groups and figures of Dresden
Continental Porcelain.
(Kandler and of the Frankenlhal, Ludwigsburg, and
period)
Hochst factoiies which have some "character" are continually
advancing in favour, and prices are nearly ten times those of
twenty years ago. It seems safe to predict that the demand for
really clever groups from many of these factories where the

modelling is good and the costumes distinctive, will increase.
"Crinoline" groups and figures, and harlequin hgures have been
the rage for the past fifteen years, and such a high price as
_îooo has been given more than once within the last two or
three years for a Dresden group of this kind.
Two or three references to recent sales will be sufficient. A
pair of P'rankenthal groups only 5 inches high, representing
little
children playing with a dog and a monkey, was sold at Christie's

in June 1910 for _î57, los., and exactly the same price was
realisedby a group of this factory representing lovers on a scroll
base with a lamb, only 6 inches high. A single figure of a peasant
woman 9I inches high realised in the same rooms in March 191
^50, 8s.
The high price for. two miniature Hochst groups in the Gilbey
sale has already been alluded to in the notice of that factory
in Chapter VI 1. A group of this now fashionable china only 10
inches high, brought ;^304, los. in the same sale. Another group
of three boys with a dog 5 inches high, of less exceptional quality,
brought ;^63.
Itmay be observed that the remarkable increase m the prices
of these German porcelains is partly due to the spirited compe-
tition of German dealers and collectors. The rapid increase of
wealth in Germany has brought about an exceptional demand
in that country for all really first-class continental specimens,
and when a good collection is offered at Christie's the Iiabiliic at
once detects the presence of dealers who have come from Berlin,
Dresden, Frankfort, and Munich to take part in the bidding.
The ordinary specimen cup and saucer, without colour or any
particular distinctive decoration, is not sought after save by col-
lectors who wish to add to their marked specimens.
The group of old soft-paste factories has received well-de-
served attention from experienced collectors. These, fabriqties ^ve
all described in Chapter VI 1., and many of their special character-
istics noted. Prices art- increasing rapidly, and will probably do

so for some time. Their quality is unmistakable, and when the
decoration of this beautiful pdtc lendre is of the best character,
it is difficult to over-estimate its attractions. In the same class
may be ranged the productions of the early Naples factory and
that of Buen Retire (Madrid).
A Capo di Monte groups of Venus with
pair of very curious
Cupid, and of Leda and the Swan were sold at Christie's (Jan.
19 10) for X336. A good Buen Retiro cup and saucer painted
with fruit or flowers on a white ground may still be bought for
;^8 or £10, and this is not more than 15 or 20 per cent, more
than a similar specimen would have brought twenty years ago.
—
Fine specimens of the different fabriqucs of
Italian Majolica.
and sixteenth-century majolica are so seldom seen in
Italian fifteenth
tiie auction room, that comparison between present prices and those
obtained formerly is difficult. The last opportunity for such

comparison was at the sale of the Octavius Coope collection
(May 1910), when values were fully maintained a good majolica ;
tazza brought £2)3^^ ^nd three dishes of fair quality averaged

about -f.200 each. Of Delia Robbia ware the fine statuette of
Pomona sold at Christie's in March lyit for i^JJ was a good
representative specimen.
—
and Danmscns. The same paucity of supply
RIio(Ua>!, Persian,
may be noticed in specimens of these faiences. The Waller, the

Joseph Dixon, and the Sir John Evans' collections, sold in 19 10
and 1 91 1, contained some good examples, and high prices were
obtained. The written description of these is not of much value,
for all depends upon flic line lustre and colour of the examples.
—
Pa/issy IFare. A fine group attributed to this master potter
was in the Octavius Coope collection, and realised ;^2 20, los.
It was a representation of Christ and the Woman of Samaria at
the Well.
These few pages of notes on values and prices should be read

in connection with the " Hints and Cautions " in Chapter V., and
reference should also be made lo the notices of the different
factories contained in Chapter VII.
A I'lymmith salt-celkir in tlie Tiapncll coUeclioii.

.
BIBLIOGRAPHY
The wide scope of this book
necessarily involves curtailment of the space
which can be given to notices of any particular ceramic factory, but the reader
who is likely to become a serious collector, is recommended to consult the
following works, where he will find much more detailed information.
For English Pottery and Porcelain.

Bemrose, William, " Bow, Chelsea, and Derby Porcelain." Illustrated.
London, 189S.
BiNNS, R. W., " A Century of Potting in the City of Worcester." Illustrated.
London, 1877.
Burton, William, "A History and Description of English Por-
F.C.S.,
celain." London, 1902.
Illustrated. A History and Description of '•
English Earthenware and Stoneware." London, 1904.

Church, A. H., " English Earthenware and Porcelain." Illustrated. London,
1884.
Haslem, John, " The Old Derby China Factory." Illustrated. London,
1876.
Hobson, R. L., "Worcester Porcelain." London, 1910. "Guide to the
English Pottery and Porcelain in the British Museum." London, 1910.
Nightingale, " Contributions towards the History of Early English
J- E.,
Porcelain." Salisbury, 1881.
Owen, Hugh, " Two Centuries of Ceramic Art in Bristol." Illustrated.

Gloucester, 1873.
Rathbone, F., "Old Wedgwood Folio, with 65 Plates in the Colours of the
Originals." London, 1S95.
Rhead, G. Wooliscroft, and F. A. Rhead, " Staffordshire Pots and
Potters." Illustrated. London, 1906.
Shaw, Dr. Simeon, "History of the Staffordshire Potteries." Hanley, 1829.
Solon, M. L., "A Brief History of Old English Porcelain." Illustrated.
London, 1900. "The Art of the Old English Potters." London, 1883.
Spelman, W. W . R ,
" Lowestoft China." London, 1905.
Turner, William, "The Ceramics of Swansea and Nantgarw." Illustrated.
London, 1897.
Oriental Porcelain
Bushell, Stephen W. (C.M.G., B.Sc, M.D.), "Chinese Art." 2 vols.
London, 1906.
Gullard, W. G., "Chinese Porcelain," with Notes by'!'. J. Larkin. 2 vols.
London, 1902.
Monkhouse, Cosmo, " Chinese Porcelain." Illustrated. London.
General: IndiKiing English, Forcig)i, and Oriental.

Chaffers, William, "Marks and Monograms on Pottery and Porcelain."
Thirteenth Edition, revised and edited by Frederick Litchfield. London,
1912.
HoRSON, R. L., " Porcelain of all Countries." London, 1906.
4S6
BIBLIOGRAPHY 487
French Faiences.
Davilii".r, C. " Histoire des Faiences et Porcelaines de Moustiers, Mar-
J.,
seille et autre fabriques Nationaies." Paris, 1863.
French Porcelain.
Chavagnac (Cte de) et de Grolliek (M'"), "Histoire des Manufactures
Franâises de Porcelaine." Paris, 1906.
Italian Majolica.
FoRTNUM, C. Drury E., F.S.A., D.C.L., " Majolica." Clarendon Press,

1896.
Continenlal Porcelain.
Franks, A. W., " Catalogue of a Collection of Continental Porcelain."
London, 1S96.
Graul and Kurzwelly, " Altthuringer Porzellan." Leipzig, 1909.
Wylde, C. H., "Continental China." London, 1907.
American Pottery.
Barher, E. a., " ALtrics of American Potters." Philadelphia, 1904.

Earle, Alice Morse, " China (Collecting in America." Published in
United States about 1907.
German Stoneware.
Falke, Otto Von, "Das Rheinische Steinzeug." Berlin, 1908.
ERRATA
Page 13, Mezza-Majolica should be Mezzo- Majolica.
18, de Medici should be di Medici.
36, Dilwyn should he Dillwyn.
39, Pillevuyt should be Pilliviiyt.
50, Couldon should be Cauldon.

89, Wheildon should be Whieldon.
95, Altrothau should he Alt Rolau.
Pages 130, 131, 135, Roubiliac should be Roubillac.
Page 154, C. L. Hobson should he R. L. Hobson.
,. 160, W. C. H. Wylde should be Mr. C. II. VVylde.
,, 185, Deitrich slwuld he Dietrich.
„ 210, 1705 should be 1795.
,, 237, Chelman should be Chelliani.
„ 241, Boussement should be Boiissemart.

,, 256, Benham should be Bonhani.
,, 2^7, Thorn .?/;w</a?fe Thorns.
,, 281, Geltz should be Gelz.
,, 406, George Walker should be Samuel Walker.
,, 416, Gravaut should be Gravant.
488
INDEX
Note. — To enable the reader to identify an unknown mark, lliis index has been specially
prepared thus, supposing a specimen to be marked with a letter, a crown, an anchor,
:
or any other device, by reference to this letter or device in the index the reader will be
able to turn to a notice of the factory or maker where such a mark was used.
Where a factory is mentioned more than once the reference to the principal account
of il is placed first. Names of Collectors will be found under " Collections.''
Adderley, Mr. B., 155.

Alcazar, Tiles.
see
A., 8i, 82, 84, 85, 86, 87, 104. 242, 252, ALCORA, pottery and porcelain. 80-Si.
312, 332, 335, 363, 373. Aldred, O. &. S., potters, 254.
A.B., 167, 188, 287, 373, 374. Algiers, pottery, 326.
^.D.,83, 84, 375. 376. Alhamora, see Tiles and Va.ses.
A.D.B., 168. Allen, R., potter. 261.
A.D.W., 87. Allen, T., artist, 287.
A.F.. 376. Aloncle, painter, 363.
A. I., 166. Alphen, von, potter, 175.
A. J., 166. ALT-ROLHAU, pottery and porcelain,
A.K., 167. 82.
A.L.. 378, 392. ALT-HALDENSLEBEN, porcelain, 82.
A.M., g6, 249, 379. Amorini, explained, 460.
A.N., 82. .\mphora, explained, 460.
A.P., 86, 166, 167, 292, 332, 373. AMSTEL, porcelain, 82-84, 87, 212.
A.R., 53, 62, 188. AMSTERDAM, pottery, 83, 84, 87.
imitation of, 62, 72. ANATOLIA, pottery, 24, 325 ; see
A.T.R., 179. Rhodes and Turkey.
A.V.. 97. Andre, J., painter, 373.
A.V.K., 166. Andreoli, Georgio, potter. 17, 20. 2O7,
Msciilapius wand of, 53, 18S.
, 268.
Anchors, 71, 97, 100, 103, 104, 105, 109, Angelini, artist, 427.
130, 131, 13s, 164, 176, 194, 212, 249, ANGOULEME, porcelain, 84, 97.
252, 296, 346, 365, 413, 414, 437, 440, Angouleme, Duchesse d', 85.
453. 454- Angst, Sir Henry, cited, 240, 45S.
Antlers, 263, 332. ANSPACH, porcelain, 85-S6.
Armorial bearings, 198, 217, 263, 281, Antique, term explained, 460.
286, 415. Anteaume, painter. 363.
Arms, 192, 273. Antonibon, G. B., potter, 90.
Arrows, 103, 104, 126, 240, 310, 453, 457. .\ntonio, potter, 196.
Axe-heads, 89, 371. Apoil. painters, T,y},.
Abbey, R., potter, 248. APREY, pottery, 86.
ABRUZZI, majolica, 79, 267. Aprey. B.aron d', potter, 86.
.\bsolon, W., artist, 457. APT, pottery, 86.
Ac.\NTHUS, 3. Arabian pottery. 9, 11, 12, 13, 218.
AciER, Francois, sculptor, 5?, iSo, 182, Archelais. painter, 373.
183. ARDENNES, pottery. 87.
Adam, C, sculptor, 350, 416, 417. Arita, see Japan.
Adam, J., potter, 80. Armand. p. L.-P., painter, 363.
AD.\MS ware, 79-80. Armstrong, Mr., architect, 36, 92.
Adams, J. & W., potters, 80, 195. ARNHEIM, pottery and porcelain, 87,
Adams & Flaxman, potters, 23S. 84.
490 INDEX
Arnoux, LfeoN, potter. 288. Bailey-. C. T. C.. potter. 205.
Arnoux, Veuve, potter, 86. Bailey & B.\tkin. potters. 236.
ARRAS, porcelain, 87. Bailly, painter, 363.
ARTOIS, see Paris. B.'iiRD, Mr. \V.. cited. 322.
Artois, Comte d', 84. Baker. Bevan & Irwin, potters. 401.
AsHBY.Potters' Guild of, 50. B.\ldasara, 272 see Majolica.
;
AsHWORTH Bros., potters. 280. Baldisseroni. painter, 373.

AsHWORTH, G. L., and Sons, potters, 50. Baldock & Hitchcock, 464.
Asia Minor, pottery of, 1. Balearic Isles, 10.
Asselin, artist. 363. Ballanger, decorator, 373.
Assyria, pottery of. i ; use of copper Bankes & Turner, potters, 236, 410.
in. 2. BARANOWKA (or BARANUFKA),
ASTBURY ware, 88-89. porcelain, 90.
Astbury, J. and T., potters. 34. 88. 89. Barbin, F.. potter. 273.
341, 406. B.ivrdet. painter. 363.
Atelier, term explained, 460. Bareau & Bareau. potters, 77.
Aubert, painter, 363. Barker. John, potter. 195. 386, 432.
Auction Rooms, 57. Barker. Samuel, potter. 178.
Auctions, 57-58, 467-469. Barlow, Miss H., designer, 44, 234.
Augustus Rex, 53. 62, y2, 188. Baron, W. L.. potter. 50.
AVIGNON, pottery, 89. Baroni. G.. potter, 90.
AvissE, painter, 373. Barr. Flight & Barr. potters. 445.
AVON, see Fontainebleau. Barrat, painter, 363.
Aynsley, John, potter, 236. Barre. painter. 363.
BARRfe, painter. 373.
Barri.at. painter. 374.
B. Bartolo. potter, 210.
Bartolozzi, artist, 439.
B., 92, 96. 100. 103, 107, 114, 115, 116, Basalt, termed explained, 460 ; see
154, 210, 276, 278, 314, 363, 364, 365, Wedgwood.
373. 374. 392,455- BASSANO. pottery, 90, 40, 41, 61.
B.B., 71, 77, 199, 288. Basset. Elinor, painter, 398.
B.C., 300. B.\STo, Pinto, potter, 306.
B.D.. 363. Bat, see Printing.
B.F., 374. Battam. potter, 384.
B.F.B.,445.455. Batterse.\, sec En.\mels.
B.F.S.. 92. 168. Baudouin, painter. 363.
B. &.G., 162. Bavarian pottery, 340.
B.H., 92. Baxter. T.. artist, 397. 398. 400, 446.
B.K., 92. BAYEUX. porcelain. 91.
B.L.. 307. BAYREUTH, pottery and porcelain, 92.
B.L.C., 87. Beads. 2.
B.N., 301. 364- Beaker, explained, 461.
B. & iV., 300. BEAUVAIS, pottery. 92. 19.
B.P., 167. Becker. Paul, potter. 220.
B.P.T., 188. Becquet. painter. 363.
B.R., 98, 168. Beddow, artist, 397, 398.
B.S.M., 107. " Bee," see Jugs.
B.V.. 116. Beeley. see Billingsley.
B.Z., 458. Belet, A. & E. & L., painters,' 374.
Beacons, 207. Belgian pottery, 340.
Bells, 220. Bell, William, potter, 220.
Birds. 236, 240. 248, 364 ; see Cocks, Bell & Block, potters, 71
Eagles, and Storks. Bellarmines, 26, 159, 340.
Bottles, 371. BELLEEK. porcelain. 92-93, 36, 45.
Bows and arrows, 103. BELLEVUE, pottery, see Hull.
Bugles, 127, 128, 454. BELLEVUE, pottery, near Rye, see
Babylonia, bricks of, 2. Cadborough.
Bachelier, decorator, 353. Belper & Denby, potters, 235.
Bacon, John, R..\., 100. Bemrose. William, cited. 100, 175.
Baddeley & Fletcher, potters. 251. Bengraf. potter, 206, 281.
BADEN-BADIiN. porcelain. 89-90. Benitier, explained, 461.
Baguley, Isaac, potter. 327. Bentley ware, sec Wedgwood.
Bailey, see Billingsley. Bentley. dealer. 464.
INDEX 491
Bentley, Til, potter, 34, 93, 426. Bourdois, sculptor, 364.
B^RANGER, A., ])ainter, 374. BOURG LA REINE, porcelain, 97-98.
BERLIN, porcelain, 93-95, 38, 335. Bourne, Chaki.es, potter, 235.
Bernal, Ralph, antiquary, 160. BoussEMART, F., potter, 241, 242.
Bernart, potter, 21. BOVEY TRACEY, pottery, 98.
Berthevin, potter, 276. BOW, porcelain, 98-105, 30, 36, 46, 68,
Bertrand, painter, 364. 250, 252. 253, 254, 255,^258, 442, 452.
Bettignies, M. de, potter, 333, 407. imitations of, 315.
Bevington & Co., potters, 397, 400. BowEN, Samuel, potter, 46
Bewesy (or BusEY), S. I., potter, 433. Bowers, G. E., potter, 409.
Beyer, J. W. C, artist, 263. Bowman, Z., artist, 174.
BeyerlI, J. L., Baron de, potter, 299, BoYLE, Samuel, potter, 173.
300. Brachard, modeller, 364.
Bianco sopra bianco, see Decoration. BRADWELL, pottery, 105, 34.
Bienfait, painter, 364. Brameld, potter, 327.
Bienville, H., painter, 374. BRAMPTON, pottery, see Notting-
Billingsley, \Villi.\m, artist, 174, 266, ham.
293, 294, 295, 396, 397, 398, 406, 446. BRANCAS-LAURAGUAIS, porcelain,
Binet, painters, 364. 106.
BiNG & Grondahl, potters, 172. BRANDENBURG, porcelain, 106.
BINGHAM, see Hedingham. Brecy, p., painter, 374.
Bingham, E., potter, 95, 215, 216. BREITENBACH, see (Irosbreiten-
BiNNS, Mr. R. W., 435 cited, 126, 436,
; BACH.
437. 440, 443- Brinckmann, Dr., cited, 73, 85, 92, ii6,
Birch, Dr., cited, 2. i8q, 214, 227, 228.
Birks, a. & L., decorators, 2S7. BRIOT, pottery, 106-107.
Biscuit, explained, 461. Briot, Francois, potter, 22, 107.
Bistre, explained, 461. Briqueville, J., potter, 237.
Blakeway, potter, 223. BRISTOL, delft, pottery, and porcelain,
Bloor, potter, 172. 107-UI, 30, 36, 46, 55, 69, 99, 100,
Boch, Bros., potters, 266. 1 13, 252, 265, 294, 321.
Bocquet, decorator, 374. Britannia, figure of. 131.
BOHEMIA, pottery and porcelain. 95-96. British pottery, ancient, 7,8.
Boileau, M., potter, 352, 355. Brittain, John, potter, iii.
BOISSETTE, porcelain, 96. Britton & Sons, potters, 239.
BoiTEL, gilder, 374. Brodel, potter, 419.
BoizEAU, artist, 353. Brongniart, M. Alexandre, 356 ;
BOLOGNA, pottery, 96, 17, 40. cited, 3, 30, 296, 358, 419.
Bone, Henry, artist, 114, 321. Brown, Mr. W., cited, 210.
BonnaffA, M. Edouard, cited, 22. 92, Brown, Westhead, Moore & Co.,
337- potters, 50.
BoNNEFOY, Antoine, potter, 277. Browne, R., potter, 253, 254, 256.
Bonnuit, decorator, 374. BRUGES, pottery, 115.
Booth, Enoch, potter, 409. Brun, Benolst le, potter, 90, 241. 307.
Booths, potters, 50. Brunello, potter, 192.
BORDEAUX, pottery and porcelain, 97, BRUNET-RoguEs, A., painter, 375.
412. BRUSSELS, pottery and porcelain, 1 15-
BoRNEAU, M., cited, 17, 21 note. 116.
Bossu, J., potter, 242. Bryant, potter, 245.
BoTT, Th., artist, 448. BucHWALD, Jean, potter, 22S.
BOTT, & Co., potters, 386. BUEN RETIRO, porcelain. 1 16-1 17, 80.
BOTTGER ware, see Dresden. 120.
BoTTGER, John, potter, 33, 53, 179, 180, BuLiDON, painter, 364.
181, 320. BuNEL, painter, 364.
Boucher, painter, 364. Burke, Edmund, china made for, 112,
Bouchier, Francois, artist, 131. 481.
BouCHET, painter, 364. BURSLEM, pottery, 34, 340 ; see Staf-
BoucoT, painter, 364. fordshire.
BouiLLOT, painter, 364. Burton, potter, 155.
Boulange et Cie., potters, 154. Burton, Mr. William. 50 cited, 99,
;
Boulanger, painters, 364. 130, 175, 247, 256, 266,' 287, 299, 322,
BouLLEMEiR, A., gilder, 374. 389, 391, 427. 428, 429. 443-
Boullemier, decorators, 287, 374. Busch, Baron, artist, 1S6.
BOULOGNE, porcelain, 97. Bushell, Dr., 140, 147.
492 INDEX
Butcher, John. 260. C.\melford, Lord, 112.
BuTEux, painters, 365, 375. Campbell, C. M.. potter, 43, 286, 287,
Butler, F. A., artist, 233, 234. 288.
Bux, J. B., potter, 382. Can. explained, 462.
Byzantine, term explained, 461. " Cannette." 159.
Canta Galli. see Florence.
canton, new, see Bow.
C.^PELLE. painter. 3O5.
CAPO DI MONTE, porcelain. 119-122,
C, 77, 125, 263, 273, 284, 307, 365. 38.40; imitations of, 75, 1 16, 117,178.
C.A., 178,305. Capronnier, gilder, 375.
C.B., 92, 116. Car.\ssus, artist, 419.
C.B.D.. 157, i;8. Cardin. painter. 365.
CMS.. 167. Carl Theodor. mark of, 69, 74, 201 ;
C.C., 117, 301, 374. 385- see Frankenthal and Ludwigshurg.

CD., 158, 243, 244, 376. CARLSBAD, see Pirkenhammer.
C.F., 266, 320. CAROLINA, clay imported from. 46.
C.G.. 240. C.ARRlfe (or Carrier), painter, 365.
C.H., 308, 365. Carrier-Belleuse, artist, 287.
c.r... 314. CASSEL. see Hesse-Cassel.
CM., 198, 308, 366. Castel. painter. 365.
C.N.. 301. CASTEL DURANTE, pottery, 17, 18,
C.P., 116, 163, 314. 365, 374. 211. 267. 269. 271 ; see Majolica.
C.S.. 277, 278. CASTELLANI. porcelain, 123.
C.T., 69, 74, 201, 375. CASTELLI, majolica. 79, 267 ; see
CV., 228-229. Majolica.
CV.K., 116. CASTLEFORD, pottery, 123.
C.V.S., 166. CASTOR, pottery, 7.
C.W.. 295. Caton, painter, 365.
Castles. 208, 238; see Towers. Catrice, painter. 36?.
Churches, 197, 205. CAUGHLEY, porcelain, 124-126, 36,
Cocks, 84, 198, 209, 222. 36, 256, 260. 266. 452.
Comets, 358. Celadon, explained, 462 see Decora-
;
Compasses, 370. tions.

Crescents, :oo, 103, 104, 125, 126, 257, Cauldon, potter, 50.
260, 262, 286, 305, 320, 369, 402, 409, Celadon Vase, see Vases.
420, 441. 449. 452. 453- Ceramic, term explained, 462.
Crosses, gs, 113. 115. 116, 122,161, 162, Ceramus, mythical inventor of pot-
202, 207, 210, 219, 222, 245, 305, 308, tery. 3.
372,419,420,454- Chaffers, Richard, potter, 35, 247.
Crowns and Coronets, y\, 72, 73, 74, 75, William, cited, 35, 46, 79, 89,
84, 91, 115, 116, 117, 122, 123, 125, go note, 96, 107, no, 1 16, 149, 154, 155,
134, 135, 156, 175, 176, 177, 190, 201, 159, 191, 194, 195, 209, 210,
211, 213,
236, 240, 242, 249, 263, 276, 281, 300. 214, 218, 220, 223, 226, 228, 234,
227,
306, 307, 312, 314, 327, 336, 385. 393. 237, 241, 244, 245, 255, 266, 268,
256,
419, 454, 455. 277, 285, 296, 297. 298, 306,
312, 313,
Cabau, painter, 375. 316, 317, 323, 328, 331, 332,
336, 'ii7,
Cabaret, explained, 462. 339. 343. 357. 373. 392. 40I,
405. 409.
CADBOROUGH, potterv. 118. 419, 421, 428, 429. 442 note, 451, 457,
CAEN, pottery, 118. 458. 474-
CAFFAGIOLO, pottery. 17, 118, 267, Chamberlains. R. & H.. potters, 124,
269 ; Majolica.
see 178, 39S, 446. 447. 448. 455.
" Caffagiolo plate." 270. Chambers. William, potter. 263.
Caffo. G. a., potter. 90. Chambrette, Jacques, potter, 263.
Caille, artist, 77. CHAMPION Bristol china, 1 1 i-ii 5.
Calcareous, term explained, 462. Champion, Richard, potter, 46, 105, in,
CALDAS, pottery, 118, 245. 299, 321.
Caldesi, M. Leo'nida, cited, 96, 222. Chanon, Henri, potter, 308.
Caldwell, J., potter, 391. J. B. & S., painters, 365.
Calonne, M. de. 87, 241. CHANTILLY, porcelain, 127-128, 55,
Camaieu, explained, 462. 348, 403.
Cambrian-Argil. 235. 281. Chapelle. Jacques, potter, 345.
CAMBRIAN ware. 119. Chapuis. painters. 365.
CAMBRIDGE, Mass., pottery, 47. Charpentier, artist, 375.
.
INDEX 493
Charpentier, potter, 21, 407. COLI-ECTIONS :—
Charrin, Mile. F., artist, 375. H,M. the King, 56, 132, 356, 407,
Chaterley, William, potter, 405. 408 ; see Windsor Castle.
CiiAUVAUx, gilders, 365, 366. H.M. Edward VIL, 43.
CiiAVAGNAC ET DE Grollier, cited, io6, H.M. George IV., 56, 351.
127, 162, 237, 241, 243, 266, 284, 301, H.M. pueen Victoria, 93, 459.
354. 357. 395- H.M. William IV., 446.
CHELSEA, porcelain, 128-135, 30, 36, H.R.H. the Duke of Cambridge,
46, 56, 99, 100, 102, 104, 250, 253, 284, 295.
356, 428, 442, 443, 453 imitations of,
; Abcrcromby, Lord, 453.
59, 70, i?7 pottery, 39, 70, 157, 315.
; Amor, Mr. A., 132, 155, 481.
CHELSEA-DERBY, 130, 171, 174. Angst, Sir Henry, 458.
Chetham & WooLEY, potters, 237. Ashley, Mrs. Wilfred, 85.
Chevalier, painter, 366. Azeglio, Marquis d', 409.
Chiaro-oscuro, explained, 462. Baer, Mr., 1S2.
CHICANNEAU, see Paris. Baldwin, 118.
Chicanneau, Pierre, potter, 308, 333, Bemrose, Mr., 252.
334- Bernal, Raljih, 160.
Child, potter, 409. Bessborough, Lady, 193.
CHINESE porcelain, 137-145, 29, 31, Binns, Mr., 56.
62 ; imitations of, 105, 120, 130, 181, Bohn, Mr. G. H., 121.
341, 344, 417, 437 redecorated, 144-
; Borradaile, Mr. Charles, 81, 1 1 1 , 1 34,
145, 134, 135; pottery, 136-137. 9; 186, 419.
periods of dynasties, 146-154 value ; Boynton, Mr. Thomas, F'.S.A., 27,
of, 477- 22 I 2 s2
,
CHODAU ware, 95. Brightling, Mrs., 267.

Choisy, de, painter, 366. Broderip, Mr., 103, 104, 126, 258, 259.
CHOISY-LE-ROI, pottery and porce- 260.
lain, 154. Brunswick, Duke of, 186.
Christian, potter, 248. Buccleuch, Duke of, 357.
Christie's, auction rooms of, 57, 88, 112, Burns, Mrs., 88.
131, 157, 204, 205, 238, 251, 287, 353, Burton, Lord. 132, 133.
354, 426, 450, 453, 476, 480, 481, 483, Cadogan, Lord, 191.
484; catalogues of, 121, 133, 171. Calleiider, Mr. W. R., 481.
Chulot, painter, 366. Campbell, Mr. M. C, 287.
Church, Professor, cited, 175, 230, 231, Cavendish-Bentinck, 413.
255, 298, 340, 341, 342, 343, 387, 405, Chamberlain, Mr. N., 444.
429. Church, Professor, 251.
CHURCH GRESLEY, porcelain, 155 ;
Cockshutt, Mr. J., 134, 444, 4S0.
see Gresley. Colman, Mrs., 258.
CiNTRA, 245. Coope, Octavius, 356, 474, 475, 483,
Cipriani, painter, 439. 484.
CiROO, potter, 127. Craigie, Mr. E. W., 290.
Clay, see Kaolin. Cree, Mr. W., 322.
Clement, potter, 154. Crisp, Mr. F. A., 253, 254, 255, 256,
Clerissy Family, potters, 291. 260.
CLERMONT-FERRAND, pottery, 155- Currie, Mr. David, 357.
156. Denison, Mr. Beckett, 211.
Clewitt, potter, 434. Devonshire, Duke of, 140.
CLIGNANCOURT, porcelain, 156. Dickson, Mr. J., 484.
" Clobbered," 145-146 ; term ex- Drane, Mr. Robert, 204, 231, 252,
plained, 463. 398, 443, 444.
Clodion, artist, 353. Duncan, Mr. Ale.xander, 119, 295,
Closter Veilsdorf, see Kloster Veils- 397. 399-
DORF. Durlacher, Mr., 271.
COALBROOK dale, porcelain, 157- Dutuit, M., 316.
158, 45, 65, 69, 125, 400. Eccles, Mr., 42, 287, 295, 398, 399.
CoALPORT,see Coalbrook Dale. Edkins, 231, 451.
Coalport China Co., 158. Edwards, Sir H. E., 444.
coblentz, 159. Evans, Sir J., 231, 484.
CoBURG porcelain, 75, 76, 187. Falcke, Mr. Isaac, 430.
Coffins, ancient, 2. Falkner, Mr. Frank, 78, 295, 344,
Coke, John, potter, 319, 406. 3S6. 389, 432. 433-
CoLCLOUGH, artist, 397. Fitzgerald, Mr. Percy, 3S8.
494 INDEX
COLLECTIONS (continued) :— COLLECTIONS (con/hnied) :—
Fitzhenry, 55, 97, 127, 128, 197, 2S4, Martin, Sir H. B., 92.
332. 334-, 419- Martina, Duke de, 181.
Fortnum, 186, 270, 318, 325. Massey-Mainwaring, Mr. W. F. B.,
Fountaine, see Narford Hall. S3. 187.
Franks, Sir A. W., 54, 86, 90, 92, 95, Mavor, Dr., 131.
115, 133, 160, 180, 185, 186, 193, Melville, Mrs. Beresford, 117.
201, 208, 231, 238, 245, 250, 263, Methuen, Lord, 132.
266, 277, 283, 284, 303, 306. 3ii?, Molyneux, the Hon. R. G., 221.
334. 335. 413. 416, 419. Napier, Mr. R., 443.
Garland-Morgan, 149. Narford Hall, 22, 194, 211, 270, 339.
Gasnault, 311. Nightingale, Mr. J. E., 449, 451.
Gilbert, Mr., 450. Orleans House, 330.
Gilbertson, Mr. Charles, 132. Orrock, 142.
Gilbey, Sir W., 2S2, 483. Pascal, 86.
Godman, Mr. Du Caine, 219, 318, Perrins, Mr. C. W. Dyson, 104, 437,
325- 441, 442. 444. 448. 449. 453-
Goode, Mr., 349, 351. Phillips, Mr.?. Lionel, 131, 134.
Grahame. Mr. Henry, 402. Pierpont Morgan, Mr., 140, ay, 475.
Grandidier, 149. Pitt-Rivers, General, 405.
Grey, Lord de, 18S. Potts, Rev. Arthur, 143.
Hall, Rev. A., 1S9. Propert. Dr. L.. 426.
Hallam, Rev. \V. W., 261. Pryor's Bank, Fulham. 2S0.
Hamilton Palace, 22. Randolph, General, 182.
Hardy, Mr. C, 3S5. Rathbone, Mr., 481.
Harewood, Earl of ^6, 357., Reynolds, 81, 90, 228.
Harrison, Mr. H. E. B., 96. 160, 238, Rhodes, Mrs.. 444.
243. 3IO- Rosebery, Lord, 413.
Hawkins, 88, 133, 353, 354. Rosenblum, Mr. S., 107.
Henderson, Mr., 9, 219, 316, 317, Rothschild family, 22, 43, 194, 357.
318, 325. 44S.
Hillingdon. Lord, 357. Sackville, Lady, 335.
Hope-Edwards, 444, 479. Salting, Mr. George, 21, 22, 54, 56,
Hopetoun, Countess of, 250. 107. 139. 141. 142. 143. 144. 148.
Hughes, Lady, 104, 134, 252. 194, 197, 212, 219, 224, 270, 271,
Hughes, Mr. H. E. W., 125, 399, 437, 316, 318, 325, 337, 404, 474, 475.
439. 444- Salzburg, Castle of, 303.
Hulme, Mr., 430. Samuelson. Mr., 353.
Hume, Major, 81. Schreiber, Lady Charlotte, 25,55,97,
Hurlbult, Mr. Frank, 134. 102, 122, 132, 133, 134. 231, 245,
Huth, Mr. Louis, 103, 141, 25.^. 248, 2i;o, 261, 344, 413, 438, 440,
Joicey, Mr., 357, 407. 477-
Jones, Mr., 56, 137, 348, 350, 352, Scott, Lady B., 478, 479.
357- Seago, Mr. Rix, 253.
King, Mr., 53, 187. Sechran, 316.
Knole House, Sevenoaks, 335, 461. Shandon, 4.
Law, Foulsham & Cole, Messrs., Sheldon, in, 134, 387, 499.
125. Sidebotham, Dr., 386.
Lambton, Mr. R., 444. Solon, Mr. L. M., 105, 205.
Launa, Berlin. 271. Soulages, 11, 89, 219.
Lever, Mr. W. H., 430. Spelman, Mr. W. W. R., 257, 258.
Litchfield, Mr. S., 193. Spitzer, 22, 270, 271.
Lloyd, Mr. F., 444. Stein, I\L, 337.
Lowenadlcr, Mr. F., 134. Strawberrv Hill, 27.
Macdonald, Mrs. A. R., 99, 104, 105, Terry, Capt. H., 433, 434.
no, 120, 122, 131, 133, 134, 173, Terry, Major-General Astley, 109,
201, 223, 240, 387, 436, 442. 125, 175, 214, 231, 235, 290, 392,
Macdonald, Mr. D. W., loi, 105, 443, 434.441-
444. 44.=;- Thistlethwayte. Capt., 100, 134.
Mackintosh, The, 295. Thompson, Mr. F. E., 135.
Maclaren, 102. Thompson, Mr. F. J., :o4, 131, 322.
Manficid, Mr. H., 104, 131, 134, 180, Thorns, Mr. Merton, 257, 479, 480.
252, 387, 444. 481.
Marllioro' House, 161. Thomson. Miss E., 132.
—
INDEX 495
COLLECTIONS {coiiliniied) :— Crouch ware, explained, 463.
Trapnell, Mr. Alfred, III, 112, 113, Crouzat, potter, 276.
114, 125, 251, asa, 322, 444, 45b, Crowther, potter, 99.
4S1. CUSTINE, COMTE DE, potter, 299.
Turner, Mr. R. D.. 444. CYFFLfe, Louis, potter, 263, 264, 299,
Tweedmouth, Lord, 430. 3ot.
Usher, Mr. J. Ward, 134. Cyples, potter, 236.
Vivian, Mr. C, 399. Cyprus, pottery of, i.
Walker-Joy, 161, 311.
Wallace, see Museums — Hertford
House. D.
Waller, 484.
Ward, the Hon. Robert, 134. D., 72, 126, 135, 164, 167, 168, 169, 175,
Wareham, 481. 176, 190, 241, 242, 273, 283, 335, 366,
Wass, Mr. C. Wentworth, 446. 411.
Watney. Mr. Claude, 131. D.B., 192, 373.
Willett, Mr. H., 197, 231, 405. D-C. 375-
Windsor Castle, 56, 189, 356, 407, D.D., 123.
408. D.F., 375-
Yallop, Mr. J. U., 259, 260. D.G., 419, 420.
Young, Mr. Harman, 252. D.H.. 375-
Mr. Herbert, 88, 184, 1S5, 343. D.7., 376.
Collections, formation of, 53. D.K. 176.
public, 54. DM.. 168.
Collectors, hints and cautions to, 52- D.P., 177.
68. D.R., 366.
COLOGNE, stoneware, 158-160, 25, 340. D.S.. 167.
Colours, method of applying, 463. D.T.H.. 107.
CoMMELiN, painter, 366. D.V.. 98, 284.
Commerce, Journal of, 116. D.V.K., 166.
Constant, gilder, 375. D.V.X.. 167.
CoNSTANTiN, painter, 375. Daggers, 94, 103, 104, 105, 219, and see
CooKSON & Harding, potters, 299. Swords.
COOKWORTHY, WiLLIAM, potter, 35, III, Dog, harp, and tower, 92.
299. 320, 321. Dolphins, 241.
Coombs A- Holland, potters, 245. Domes, 197.
Cooper, artist, 287. Daenber, potter, 83,
COPELAND, see Spode. DAGOTY, porcelain, see Paris.
Copeland & Co., potters, 36, 41, 44, 383. Dagoty & HoNOR^, potters, 85.
Copeland & Garrett, potters, 383, 384, P. H. & R. F., potters, 309.
385- Daguerre, artist, 353.
COPENHAGEN, pottery and porcelain, Dale, I. & J., potters, 386, 389, 391,
160-162, 38, 41. 392-
Copper, use of, by ancients, 2. Dalmazzoni, potter, 427.
Cordova, Mosque of, 11. DALWITZ. 95 ; sec Bohemia.
CoREAN porcelain, 226. DAM.\SCUS, pottery, 24, 317, 325 ;
Corn.aille, painter, 366. see Rhodian.

Cornwall, discovery of china clay in, 35, D.AMM. 282.
1 12. Dammouse, painter, 375.
Counterfeit marks, 69-78. Daniell, Messrs., 44.
CouRSAjET, painter, 375. DANTZIG, pottery, 163.
COURTENEY, Mr., I72. Daraubert, G., potter, 307.
COURTILLE, porcelain, see Paris. DARMST.ADT, sec Hesse-Darmstadt.
CouTOURiER, gilder, 366. DARTE, see Paris.
Cozzi, potter, 413. Date Signs :
Crackle, explained, 463 ;

see Decor.\- Mintons' 289.
TIONS. Sevres, 358-362.
Craft, Thomas, potter, 100. Vincennes, 417.
Craven, Rich.ard, 221. Worcester, 451.
Craze, explained, 463. DAVENPORT, pottery and porcelain,
CREH., pottery, 162. 164.
CREPY EN VALOLS, porcelain, 162-163. Davenport, potter, 36.
Crette, L., potter, 115. David, painter, 375.
Crispe, potter, 100. D.wignon, painter, 375.
— —
496 INDEX
Davillier. Baron, cited, ii, 12, 21S, Dietrich, potter, 185.
419. Dieu, painter, 366.
Dawson, potter, 396. DIHL, see Angouleme.
Dealers, 464-465.
i;8, DiHL & GuERH.\RD, potters, 84.
DECK, see Paris. Christopher, potter, 84.
D2CK, Theodore, potter, 12, 39, 310. DIJON, see Premieres.
Decoration, earliest form of, 2. DiLLWYN, L. W., potter, 36, 119, 294,
Decor.\tioxs : 396. 398, 401.
Bianco sopra bianco, 108. DIRMSTEIN, pottery, 177.
Bleu du roi (or gros bleu), 185, 213, Diruta, 267 see M.\jolica.
;
407. 417- DiVETT, potter, 98.

Blue, powdered, 142,443; \incennes, Dixon & Co., potters, 396.
132. 133. 356. DOCCIA, porcelain, 177-178, 81.
Crackle, 136. DoDiN, painter, 366.
Famille noire, 143 rose, 144
; ;
DoE & Rogers, artists, 178.
verte, 142. DoMMER & Co., potters, 83.
Flambe, 136, 142. DON, pottery, 179.
Gold stripes, 171. Donaldson. John, artist, 448, 449.
Grafftato (or Sgraffiato), 13, 14. 279. Donovan, decorator, 191.
402. Dorez, B., and family, potters, 241, 242,
Lustre, 11, 18,40,45. 107, 219, 299 ;
411.
see Lustred w.\re. DORNHEIM, faience, 179.
Madre perla, 11. Doulton & Co., potters, 232-234, 41, 44,
Marguerite (Palissy), 21, 339. 50, 279 ; see Lambeth.
Raffaelesque, 18, 96, 208, 271. Downman, Mr., cited, iii.
Reflet metallique, 11. Drake, Sir W. R., cited, 90.
Ruby-backed, 145, 181. Drane, Mr. Richard, ^7, 397.
Sevres, various. 353, 355, 35'5- DRESDEN, porcelain, 1 79-191, 33, 38,
53, 62, 66, 90, 335. 403 imitations
Watteau, 62, 183. 450. ;
Wouvermann, 62. of, 39, 40, 63, 69, 70, 73. 75. 76, 129.
133. 157. 160, 407 redecorated, 69
Decor.^tors (various) : ; ;
of Mintons, 287. Crown'Dresden (so-called). 72, 73, 190.

of Sevres, 363-3S2. Dressel, H. E. D., painter, 242.
Dejoye, potter, 339. Drouet, painters, 376.
De la Ch.apelle, potter, 293. Drury Fortnum, see Fortnum.
Delafosse, painter, 375. DUBLIN, pottery, 191.
Delmain, Henry, potter, 191. DUBOIS, see Paris.
Del.-vnge & Borneau, mm., cited, 17, Dubois, painter, 366.
21 note, 339. Fr^res, potters, 127, 348, 416.
Deleneur, potters, 87. DucLUSEAU, Mme., painter, 376.
DELFT, 164-169, 27, 28, 253, 328, 410 ;
Duesbury, William, & Son, potters, 36,
imitations of, 40, 231, 402. 71, 99, 130, 170, 171, 17?' '74. 441.
Bristol, 55, 107-109, 265. 449-
Lambeth. 108,232. Dunderdale, David, potter, 123.
DELLA ROBBIA ware, 13-17; imi- DuPLESSis, modeller, 42, 352, 417.
tations of, 96, 198, 289. Durosey, painters, 366, 376.
Della Robbia,Luca, and others, 14, 15, DUSOLLE, 366.
16, 291, 303.
Dutand.\, painter, 367.
Delpayrat, artist, 287. DwiGHT, John, potter, 26, 34, 128, 202,
Deltof, a., potter, 309. 205, 341.
Demaratus, potter, 6.
Demmin, cited. 97.
De Moll, potter, 82.
DE MORGAN & CO., pottery. 170, 45,
E., 175. 199. 276.
205.
Denhy, potter, 235. E.A.P., 373.
Deneken, Herr, 96. E.B., 115, 116, 314.
DERBY, 170-177. 36,44. 51.69.99.250. E.F.. m.
266; Crown-Derby, 173-177- E.L.. 378.
Derichsweiler, painter, 375. E.R.. "380.
Deruelle, potter, 56. i
Eagles, 86, 94. 95-
Desoches, 206. Eyes, 229, 370.
Desperais, painter, 375. Earle, a. M., cited, 47.
DESVRE, pottery, 177. Eaubonne, decorator, 376.
INDEX 497
Ebenstein, painter, 115. F. & R.,320.
EccLES, Mr., 245. F.Z.. 367.
ECKERNFuRDE. 228. 7^.5, 162.
Edge & Garrett, potters, 386. Feet, 167.
& Grocott, potters, 390. Fish, 207, 296, 306.
Edkins, potter, 108. Fleurs-dc-lys, 117, 122, 277, 278, 307,
Edw.'^rds, William, potter, 235. 330, 334. 335. i?^-
Egypt, pottery, 1,8; use of glass in, i. Forks, see Hayforks.
Ehrenreich, J. E. L., potter, 275, 276, Foxes, 381.
i9^ FABRIANO, see Majolica.
Ehwaldt, G., potter, 208. Fabrique, explained, 465.
EISENACH, pottery, 192, 95. Fabris, potter, 192.
ELBOGEN, porcelain, 192, 95. FAENZ.'V, majolica, 193-194, 17, 40, 267,
ELERS, ware, see Bradwell. 269, 271.
Elers, David & Philip, potters. 25, Faience, see Fayence.
34, 88, 105, 340, 341. Falconet, artist, 53, 367.
Elkin, Knight & Bridgwood, potters, Falke, Otto von, cited, 159.
195. 235- Falot, artist, 367.
Enamel, explained, 465. Fariki, a., & Co., potters, 194.
Enamels, Battersea, 55, 71, 437. Fauquez. potter, 330, 332, 410, 41 1.
ENGLEFONTAINE, pottery, 192. Fayence (or Faience), explainr-d, jis:.
English pottery, modern, 41-46. Feburier, J., potter, 242.
Entrecolles, PfeRE d', cited, 32. Fell & Co., potters, 298, 396.
EPERNAY, pottery, 192. FENTON, pottery, 195.
Errors, common, 61. Fernex, J. B. DE, painter, 367.
Escallier, Mme., painter, 376. FERRYBRIDGE, pottery, 196.
ESSEX, see Hedingham. FEUILLET, see Paris.
ESTE. pottery and porcelain, 192. Feylner, potter, 200.
ETIOLLES, porcelain, 193. FiCK.ÊR, sculptor, 41 1.
Etruscan pottery, 5, 6. Fictile, term explained, 465.
Evans, painter, 367. FiFiELD, WiLLi.\M, painter, 109.
potter, 447. Fischer, Christian, potter, 320.
D. J., & Co., potters, 401. MoRiTZ & Samuel, potters, 217.
Eventail, see Vases. Flamb^, explained, 465 ; see Decora-
EXHIBITIONS :— tions.
Albert Hall (1894), 215. FLANDRES, see Cologne.
Brussels Universal {19 10), 50, 305, Flaxman, John, artist, 426, 427, 428.
Fletcher, potter, 251.
Chicago (1983), 47. Flight & Barr, potters, 294, 396, 406,
Florence (1861), 222. 445.446.
London (1851), 288, 333 ; (1862), FLORENCE, porcelain, 196-198, iS, 30.
289; (1871), 312; (Italian, 1SS8), 33. 331.
333 pottery, 14-17.
;
41. Florida, clay imported from, 46.

Paris, various, 123, 240, 279. FLORSHEIM, potter>', 198.
Philadelpliia (1876), 47. Flower, J., potter, 108, 109.
Turin (191 1). 177, 205. Flux, explained, 466.
Fogg & Isaacs, dealers, 464.
Fogo, C. C, artist, 450.
F. FoLNEsics & Braun, cited, 416.
Fontaine, decorators, 367, 376.
F., 69, 107, 160, 194, 196, 197, 201, 206, FONTAINEBLEAU, pottery and porce-
207, 229, 276, 278, 285, 291, 303, 335, lain, 198-199, 40.
367, 369, 454. Fontana, O., artist, 271.
F.A., 189. Fontebasso Bros., potters, 408.
P.B., 107, 210, 241, 242, 292, 374. FoNTELLi.\u, gilder, 367.
F.C., 285, 374. Foresi, Dr., cited. 196-197.
F.C.L., 300. Forest, dealer, 464.
F.F., 202. Forgeries, 40, 62, 63.
F.G., 377. FoRLi, 17, 267, 270; sf« Majolica.
F.L.B., 242. Fortnum, Dr. Drury, cited, 2, 3, 10, i i,
F.L.H.. iqS. 14, 54, 194, 197. 21 1, 268,317.325,347.

F.L.V.. 411. FosKER, artist, 287.
F.N,, 222. Fosters, auction-rooms of, 57.
F.R., 287 note. Foundling, see Vases.
2 I
498 INDEX
FouR]6, painter, 367. Gelz, potter, 206, 281.
FouRMY, J.,potter, 293. Genest, painter, 367.
FouRNERAT, potter, 243. GENEVA, see Nyon.
FouRNiER, decorator, 376. GENOA, majolica, 207.
Louis, potter, 160. Georget, painter, 377.
Fragonard, decorator, 376. Georgia, porcelain, 46.
Francesco. Maria, Duke, 19. GERA, porcelain, 208, 45, 404, 420.
Francesco. Niculoso, potter, 347. Gerard, painters, 367.
Franchini, potter, 192. Louis, potter, 86.
Frank, Thomas & Richard, potters, Gessner, Salomon, artist, 458.
107, 108, 109, 265. Ghiberti, Lorenzo, sculptor, 14.
Frankenheim, pottery. 69. Giarnielli, J. B., artist, 306.
FRANKENTHAL, pottery and porce- Gibson, Mr., artist, 385.
lain,199-201, 210, 304, 355, 393. 403 ;
GiDE, potter, 306.
imitations of, 74. GIEN, pottery, 208.
Franks. Sir A. W., 27, 54, 56, 215; Giles, J. & J., artists, 449.
cited, 83, 85, 87, 135, 139, 160, 190, Gillingwater, cited, 252, 253.
224, 255, 402, 419. GiNORi, Marquis of, 40, 122, 177, 178.
Frantzen, decorator, 276. GiNORi, Richard, & Co., potters, 177-
Frechen, 160. 178.
Frede, J. C, potter. 229. GioANETTi, Dr., potter, 419.
Fresco, explained. 466. Gladstone, W. E., quoted, 48-50.
Frit, explained, 466. Glass, use of, 1-2.
Fritsch, painter, 367. Glass, Joseph, potter, 213, 405.
Frog mugs, 201. GLAiiE, explained, 466.
Froment, E.. painter, 367. GoBERT, painter, 377.
Frye, Thomas, potter, 36, 98, 103, 442. Godd6, a. J., painter, 377.
FULDA, porcelain. 202, 217, 403. GoDEESKi & Co., potters, 199.
FULHAM, pottery, 202-205, 26, 341. Godin, painter, 377.
Funeral urns, q, 7. GOGGINGEN, pottery, 209.
FUNFKIRCHEN, pottery, 205. GOMBROON ware, 316; sec Persia.,
FimSTENBURG, porcelain. 206-207, GoMERY, painter, 368.
69, 218, 403. GooDE, Messrs., 43, 44.
Goss, W. H.. potter, 50.
GOSSE, F., potter, 91.
G. GOTHA, SAXE-COBURG, porcelain.
209, 95, 208, 403, 404.
G., 95, 102, 192, 20S, 209, 240, 262, 290, Gotkowski, potter, 94, 95.
335. 3^7. 376. Gottbrecht, potter, 208.
G.A.F.F., 40S. GouLDiNG & Son. potters, 222, 223.
G.D.. 367. GOULT, potterj-, 210.
G.D.G., 168. GouPiL, painter, 377.
G.D.K.. 167. GouYN, Charles, 129.
G.F., 278. Gr.\bners, potter, 221.
G.G., 377. Gr.^co-Roman pottery, 6.
G.G.P.F., 197. Graesse, Dr., cited, 245.
G.M., 369, 414. GRAFENTHAL, see Thuringia.
G.fl., 277, 381. GRAFFENRODA. pottery, 210.
G..'?.6- Co., 243, 244. Grahame, Mr. H., cited, 402.
G.S., 90. Grainger, Th., potter, 448, 455.
G.T., 368, 409. Granada, pottery, 12, 13.
G.V., 421. Graul & KuRZWELLY, cited, 332, 403,
Garters, 123, 209. 420.
Gates, 215. Gravant, potter, 348, 416.
Globes, 44, 95. Greatbatch. William, potter, 235, 431.
Griffins, 327, 328. Greek pottery, 3-5.
Ganeau, gilder, 377. Green, A., artist, 287
Gardner, potter, 290. Guy, potter, 35, 248.
J., potter, 265.
Thomas, potter, 195.
Garner, J., potter, 432. Greiner, Gotthelf, and family, potters,
Garren, Rohert, potter, 195. 74, 208, 210, 211, 221, 229, 242, 324,
Gebleux, painter, 377. 403. 420. 421.
GEisSHiiBEi,, 95. GREINSTADT, porcelain, 210.
Gely, painter, 377. Grellet Fr^res, potters, 243.
INDEX 499
Gr^s de Flandrf.s (or Gr^s Flamand), Hallion, E. & F., decorators, 377.
232, 324 ; see Cologne. Hamaan, potter, 421.
GRESLEY (CHURCH), porcelain. 210. Hamme, J. A. VON, potter, 230.
Gresley, Sir N., 155. HANAU, pottery, 213.
Greybeards, 25 ; explained, 466. Hancock, Robert, engraver, 437, 440.
Griffith, potter, 232. John & Sampson, potters, 173, 265.
Grisaille, explained, 466. HANI,EY, pottery, 213-214, 51.
Grison, painter, 368. Hannong, Charles F., potter, 393.
Gronsveldt, Count von, 82, 84. J- A., potter, 200, 201.
GROSBREITENBACH, porcelain, 210, Paul, potter, 70, 199, 200, 393,
242, 404. 395-
Groups, various (Staffs.), 389-391. Pierre Antoine, potter, 314,
Grouzat, potter, 339. 355, 418, 419.
Growanstone, use of, 112. HARBURG, pottery, 214.
GRiJNBtiHEL, M. DE, pottCr, 415. Harding, W. & J., potters, 299.
GUBBIO, pottery, 211-212, 17, 40, 267, Harley, T., potter, 236.
271 ; imitations of, 198. Harrison, potter, 34.
GuETTARD, potter, 106. Hartel, potter, 304.
Guerhard & DiHL, potters, 85. H.artley, Greens & Co., potters, 238.
GuiCHARD, potter, 293. Haslem, John, cited, 375.
GuiDOBALDO, Duke, 18. HAVILAND, see Limoges.
GuiLLEMAiN, painter, 377. Haviland & Co., potters, 40, 244.
GuLENA, potter, 290. Haynes, George, potter, 1 19, 396.
GUSTAFSBERG, pottery, 212. Haywood, Mr., 440.

GUY & HOUSEL, sec Paris. HEATH, see Fenton.
Guy & HouSEL, potters, 311. Heath, J. & C, Messrs., 170, 295.
Thomas, potter, 195, 235.
HEDINGHAM ware, 215-216.
H. Heintzmann, 304.
HELi;NE de Hengest, 21.
H.. 213, 260, 323, 329, 36S, i77. 393. 39S- Hellot, chemist, 417.
H.B., 323. HELSINBERG. pottery, 217.
H.B. & Cie., 154. Henderson, Mr., 9.
H.C., 210, 218, 368. Henneburg, potter, 209.
H.D., 242. Hennys, W., potter, 205.
H.D.K.. 167. HENRI II. ware, see St. Porciiaire.
H.F.. 376. Henrion, painter, 368.
H.F.C.D., 97. Herculaneum, see Liverpool.
H.L., 378, 418, 419. HEREND, porcelain, 217.
H.P., 97, 115, 371. Hericourt, painter, 368.
H.R., 380. Heroldt, potter, 53, 62, 181.
H.S.J. 169.
, HESSE-CASSEL, porcelain, 2 1 7-2 8, 207. 1
H.T.. 382. HESSE-DARMSTADT, porcelain, 218.

H.f/., 382. Hew, Job, potter, 405.
H.V.S., 168. Hewelke, Frederick, potter, 413.
Hands, 273. Hews & Co., potters, 47.
Harps, 92, 191. Hexter, Humpherson & Co., potters,
Hayforks, 74, 116, 332, 420, 421. 216.
Heads, 67, 207. Heylyn, Edward, potter, 98.
Hearts, 249, 292, 367. Hildebrandt. F., potter, 324.
Hooks, 324. HILDESHEIM, porcelain, 218.
Horns, see Antlers or Bugles. HiLDiTCH & HopwooD, potters, 236.
Horses, 207, 218. HiLKEN, painter, 368.
Houses, 363. HiRSCHVOGEL, VEIT, 303.
Haag, J., potter, 83. HISPANO-MORESCO ware, 218-220,
Haager, Horth & Co., potters, 458. 9. 10, II.
Hackwood & Co., potters, 299, 427. HIZEN, porcelain, 225, 226 ; see Japan.
Hadley, J., & Sons, 448. HoBSON, Mr. R. L., cited, 56, 104, 154,
Haffringue, potter, 97. 175. 317. 441. 442. 451-
HAGUE, porcelain, 212. HOCHST, 89, 93, 199, 206, 2S1, 282, 304,
HALDENSLEBEN, sec Althaldens- 403 ;imitations of, 70, 238 ; sec
LEBEN. M.\yence.
Hall, potter, 392. HoDGKiN, Mr. J. E., cited, 232, 404, 405,
Hallam, Rev. \V. \V., cited, 261. 457-
500 INDEX
Hoffmann, Dr., cited, 224, 402, 459. J-
HOHR-GRENZHAUSEN, 160.
HoLDSHiP, Richard, engraver, 437, 440. /•. 250, 335. 368.
Holland & Guest, potters, 245. J -A: 373-
HoLLiNS, artist, 286, 287. J.A.H., 201.
HoLLiNS, Samuel, potter, 299. J.B., III, 237.
HoNEYCHURCH, Messrs., 98. J.C, 365, 374.
HONORli, see Paris. J.D., 448, 454.
HoNORfe, F. M., potter, 85, 309, 311. J.G., 167, 376.
Hope, potter, 108. J.H., 368.
HORNBERG, pottery, 220. J.H.B.S.. 448.
Horn Fr^res, potters, 220. J.L.. 166, 325.
HoROLDT, see Heroldt. J.M.. 131.
Houry, painter, 368. J.N., 366.
House! potter, 311.
, J. P.. 198, 245.
HOVE, porcelain, 61. J.P.K., 166.
HOXTER, porcelain, 220. J.R., 277, 278, 327.
Hu.\RD. painter, 377. J.S.. 282, 298.
Hubaudiere, La. & Co., potters, 323. J.T.. 372, 381.
HUBERTSBERG, pottery, 220. J.V.B.. 166.
Hughes, potter, 260. J.V.H.. 168.
HULL, pottery, 221. jACKFIELD, pottery, 223, 433.
Humbert, painter. 377. Jacquemart, M., cited, 2, 3, 6, 14, 15,
Humble, Green cS: Co., potters, 238. 16, 19, 32, 33, 84, 87, 138, 199, 218', 222,
HuNY, painter, ^68. 230, 291, 316, 317, 325, 339, 347.
HUNSLET, pottery, 221. Jacques & Julien, potters, 97, 98.
Jahn, artist, 287.
Jannike, Herr, cited, 116, 163, 179,
I. 192, 210, 218, 220, 222, 227, 237, 245,
/.,221, 273. 284, 301, 307, 324, 346, 347, 392, 434.
I.A.G., 245. 457-
I.A.H.. 30s. Jansen, Sir S. T., potter, 437.
I.D.M., 169. JAPAN, pottery, 223-225 ;
porcelain,
I.D.P., 168. 225-227 ; modern productions of, 47,
I.E.W.E.. 457. 226.
J.G.. 168. Jardel, decorator, 377.
I.G.V., 168. Jarmyn, dealer, 464.
I.H., 257. Jasper ware, explained, 467 ; see
I.H.I.. 201. Wedgwood.
I.K., 166. Je.\nest, Emile de. artist, 2S7.
I-N., 373. JEVER, pottery, 227.
I-P: 335- Jewish pottery, 8, 9.
I.P.S.. 266. Jewitt, Llewellyn, cited, 3, 26, 98,
I.R.H.P.. 116. 109, 128, 129, 170, 253, 319, 441,
I.T.D., 167. Johnson, T. & J., potters, 214, 405.
I.V.D.W., 166. JoiCY, Mr. J. G., 213.
I.V.H.. 167. Jones & Benham, auctioneers, 256.
ILMENAU, pottery. 221, 404. Jones & Co., potters, 45.
IMARL 225 see Japan.
; JOYAU, painter, 368.
IMOLA, majolica, 222, 40. Jubin, gilder, 368.
Imperatrice, Porcelaine de l' ; see JUGS :—
Paris. Bee. 134.
Imperial stone ware, 8c. Essex, 215. 216.
Incised ware, 13. Puzzle, 303, 422.
Ingram, W. R., modeller, 174. Toby, 3S7, 392.
Inkpot, Robert Browne, 254. West Mailing, 204.
Invoices, guaranteed, 59. Julienne, A. E.. ^77.
Ireson, potter, 433, 434.
Ironstone china, 235, 280, 383 ; ex-
plained, 466-467. K.
ISLEWORTH, pottery, 222-223.
Italian pottery, 10, 13. 18, 56. K., 73, 116, 292, 303. 366.
Itai.o-Greek pottery, 6. K.D.. 168.
Ivatts, Mr. W. P., cited, 433. K.H.C.W.. 189.
INDEX 501
A'./., 116. I..M.S., 42.
K.L.. 168. L.P., 313, 419.
K.P.F.. i;^, 181. L.R., 97, 368, 369, 380.
K.P.M.. 53, 95, 181, 189. L.S.. 237.
K.V.D., 167. L.S.X., 156.
K.V.K., 168. L.T., 189, 382.
K.Z.. 116. L.V., 411, 420,
Keys, 177. L.V.B., 166.
Kakiyemon, see Decorations. Leaves, 167.
Kandler, Joachim, potter, 53, 73, 181, Lines, 160, 162.
182. Lions, 83, 84, 91, 125, 179, 200, 201,
Kaolin, explained, 467. 218.
Kean, potter, 172. r.ACROix, Mr. Paul, cited, 14.
Keeling, A. & E., potters, 409. La Fond & Co., potters, 84.
Keller & Guerin, potters, 263. LAFOREST, pottery, 230.
KELLINGKUSEN, pottery, 227. Lakin & Poole, potters, 230, 386.
KELSTERBACH, sec Hesse -Darm- Lambert, painter, 378.
stadt. LAMBETH, Delft, 308, 232, 433 ; fai-
Kerr & Binns, potters, 447, 448, ence, 230-232 ; pottery, 232-234 ;
456. see DouLTON ; faience, see Doulton ;

Kessler, potter, 415. other stoneware, 235.
KIEL, pottery, 22, So, 228, 32S. Lammens & Co., potters, 87.
Kilns, described, 467. Lamoninary, potter, 411
KIOTO, pottery, 225. Lancastrian pottery, 411.
Kirby, 287. LANE DELPH, pottery and porcelain,
Kirch, potter, 227. 235, 89.
KiRiN, explained. 467. LANE END, pottery and porcelain,
KiSHERE, potter, 290.
J., 236.
KISHIU, 225. Lanfrey, F. C, 299, 300.
KlYOMIDZU, 225. Lang, Baron von, potter, 206.
KLOSTER VEILSDORF,
porcelain, Langlac6, painter, 378.
228-229, 20S, 230, 242, 403, 404. Langlois, painter, 378.
KLOSTERLE, 95 ; see Bohemia. Joachim, potter, 91.
KLUM, 99. LONGRES, see Aprey.
Knight, Frank & Rutley, anctioneers, La Roche, painter, 368.
$7- LA ROCHELLE, po'ttery, 237.
" Knock-out," explained, 467-469 LA SEINIE, porcelain, 237.
Kock & Fisher, potters, 179. Lassere, decorator, 378.
KONIGSTEDTEN, pottery, 229. LASSIA, see Paris.
KORZEC, porcelain, 229. Lassia, J. J., potter, 332.
Kraut, Hans, potter, 303. Latache, gilder, 378.
Kriegel &. Co., potters, 323. Latens & Rateau, potters, 97.
Krog, Prof. Arnold, 162. LA TOUR D'AIGUES, pottery and
KRONENBURG. see Ludwigsburg. porcelain, 238.
Kutana. 225. LAURAGUAIS, see Brancas.
KUNERSBERG, pottery, 230. Lauraguais. Comte de, potter, 306.
Kylin, explained, 469. Lavalle, potter, 323.
Leandre, painter, 368.
Le Bel, painters, 368, ^7?..
Lebrun, Benoist, potter, 90, 241,
307-
L., 77. 126, 241, 243, 273, 284, 366, 368, Lecot, painter, 369
369, 411. Ledoux, painter, 369
L.B., 116, 240, 243, 266, 368, 378. LEEDS, pottery, 238-240, 61, 179, 201,
L.C., 115, 374. 245, 409.
L.D.. 376. LEFEBVRE, see Paris.
L.F., 373. Lefebvre, potter, 312.
L.G., 369, 378. Le Fran(J0is, potter, iiS.
I..G.TI., 366. Legay, painter, 378.
L.K., 166. LfeGER, decorator, 378.
L.L., 40, 77, 250, 303, 311, 312, 350, 358, Legrand, gilder, 378.
363. 369. 407. 454- Le Guay, painters, 369, 378.
L.L.B., 156, 167, 177. Lehoujour, potter, 77.
L.L.H., 252. Leichner, potter, 212.
502 INDEX
Leihamer, potter, 228, 3Q2. Lynker, potter, 232.
Leithner, Baron, potter, 415. LYONS, pottery, 266.
Legeal, Dr., cited, 332.
Le Maire, potter, 418.
LE MONTET, pottery, 240. M.
LE NOVE, see Bassano.
LENZBURG, pottery, 240. Î-- 7S- 77- 15^. ipi' -49' 2S1, 282, 286,
Leonardo, goldsmith, 14. 370, 379-
LepSne, S.. potter, 241. iW./i.P., 313, 335.
Leppert & Haas, potters, 346. M.A.S., 312.
Le Riche, sculptor, 369. M.B., 167, 276, 277, 364.
Leroi, artist, 2S7. M.C., 379.
Leroy, gilder, 378. M.C.A., 292.
Lessore, artist, 428, 430. M.F., 217.
Le Tourneur, sculptor, 369. M.G., 212, 273.
Le Troune, sculptor, 369. M.O.L., 82.
Lev£, painters, 369. M.P.. 169, 193.
Liance, sculptor, 369. M.P.M.. 189.
Lign6, decorator, 378. M.Q., 168.
LILLE, pottery and porcelain, 241, M.R.. 379.
411. M.V.B.. 167, 168.
Lily, J. & F., potters. 447. M'BiRNEY, David, potter, 92.
LIMBACH, porcelain, 241, 210, 229, Macintosh & Clements, potters, 205.
266, 403, 404. Mackeleid, chemist, 404, 420.
LIMOGES, pottery and porcelain, 243, Mackenhauer, C, potter, 198.
39. 85. 3.39- Mackintyre, J., potter, so.
Link, specimens, 52, 56. MADELEY, pottery, 266^ 65.
LISBON, pottery and porcelain, 24s. MADRID, see Buen Retxro.
LISIEUX, pottery, 245. Maierhoffer, potter, 415.
Litchfield, Mr. S., 464. Maison Gille, statuary, 40.
Littler, W.. potter, 250, 2';i, 2^2. majolica, 267-275, 10-13, 56, 339.
LI\'ERPOOL, pottery, 246-249; 34. Majorca, 10.
LL.VNELLY, pottery, 245. Malaga, ii, 13 see Hispano-Moresco.
;
Locke, potter, 448. Manardi. potter, 90.

Locker & Co., potters, 173. MANERBE, pottery, tee LisiEux.
LoCKETT, J., potter, 386. Marcolini Dresden, 62. 185, 422.
Locr6, J. B., potter, 309. M.arcolini, potter, 53.
LODI, porcelain, 249. Marie Antoinette, 85 see Paris, ; Rue
LONGPORT, pottery and porcelain, Thiron.
249, 250. MARIEBERG, pottery, and porcelain,
LONGTON, Lane End.
see 275-277. 228, 328, 329, 393.
LONGTON HALL, porcelain, 250-252, Marks, counterfeit and misleading, 62,
55. 104. 265. 69 value of, 78.
;
LOOSDRECHT, porcelain, 82 ; see Marryat, cited, 3, 10, 94. iiS, 119. 120,
Amstel. 129, 263, 282, 420.
LOUISBURG, see Ludwigsburg. MARSEILLES, potterj^ and porcelain,
Lovatt. potter, 50. 277-278, 301 imitations of, 40.
;
LOWESTOFT, porcelain, 252-262, 36, M.^RTIN ware, 278-279, 45.

104 ; imitations, 63-64 ; Oriental (so- Martinet, painter, 37S.
called), 255-256, 64; china (so- Marx, J. A., potter, 303.
caUed), 261. MARZY, pottery, 279.
Lucas, decorator, 378. Mason, artist, 287.
LUDWIGSBURG, porcelain, 262-263, M.'VSON, pottery, 279-281.
200 ; imitations of, 74. Mason & Co., potters, 195, 235, 245.
LUNEVILLE, pottery and porcelain, 279, 280. 281.
263-264. Massey, modeller. 410.
Lupo, Monte, 267 see Majolica. ; MASsife, potter, 243, 244.
LusoN, Hewlin, potter, 252, 253. Massy, painter, 369.
Lustred ware, 264-265. Mathieu, enameller, 417.
Lustred, term explained, 469 ;
see Matthews, potter, 195, 235.
Decoration.s. Maubr6e, potter, 306.
LuTLAU, artist, 206. Maugendre, sculjitor, 378.
LUXEMBOURG, pottery and porcelain, Maussion, Mlle. de, painter, 378.
243, 266. Maw & Sons, potters, 45.
INDEX 503
MAYENCE, pottery and porcelain, 281- MOSCOW, porcelain, 290.
283. MOUSTIERS, pottery, 291-293, 209,
Mayer, artist, 407. 301 ; imitations of, 40, 328.
Mayer, Elijah & Joseph, potters, 35, MUGS :—
214, 247, 283. Frog, 2QI, 298.
Mayor cS: Newbold, potters, 236. King of Prussia, 437.
Medi.IiVal pottery, 10-28. MiiLLER, ])ottcr, 75, 160.
MEDICI, porcelain, i8, 33 ; ':ee Fi.ou- MUNICH, see Nymphenburg.
ence. MUSEUMS ;—
Medici family, 14, 18, 196. Ashmolean (O.xford), 54, 270, 325,
Mehlhorn, potter, 160. 421.
Meigh & Sons, potters, 214, 306; sec Bath, 421.
Old Hall. Bethnal Green, 54, 187, 208, 335,
MEISSEN, see Dresden. 405.
Melchior, J. B., artist, 282, 304. Birmingham, 388.
MELUN, see Vaux. Bologna, 6.
MfeNE<jv, 283-284, 36, 55, gy, 98, 162, British, 5, 6, 9, 18, 54, 55, 56, 88, 99,
334. 403- 100, 102, 105, 108, 112, 113, 133,
MArault, painters, 369. 134, 138, 155, 159, 172, 179. 186,
potter, 229. 202, 203, 205, 211, 219, 225, 231,
Merchandise Marks Act, 62, 67, 250, 257, 270, 277, 295, 316, 318,
187. 325. 341. 343. 344. 3^7. 40i. 405.
Merigot, painter, 378. 408, 419, 429, 441, 457.
Mesopotamia, 2. Burghley House, 252.
Mete YARD, cited, 429. Burslem, 388, 430.
METTLACH, pottery, 284. Cardiff, 57, 295, 399, 410.
Meyer, painter, 379. Chmy, 325.
Meyers, potters, 72, 190, 191. Colchester, 215, 216.
Mezzo-Majolica, 13. Crefeld, 96.
MiCAUD, decorators, 370, 379. Derbyshire, 405.
Michel, painter, 370. Dresden, 187, 391.
MIDDLESBOROUGH, pottery, 285. Dublin, 78, 295, 386, 433.
MILAN, pottery. 285-286. Edinburgh. 410.
MINDEN, porcelain, 286. Florence, 6.
MiNGHETTi, Angel, potter, 96. Hamburg, g2, iifi, 214, 227, 228,
MiNTON, Thomas & Herbert, potters, 392.
30, 36. 38, 41, 43, 65, 266. Hanley (Mechanics' Institute), 231,
HoLLiNs & Co., potters. 288. 246, 247, 251, 406.
MINTONS, porcelain, 28(^280, 42, 43, Hertford House, 43, 56, 357.
44. SO, 77- Leeds, 240.
MiQUET, potter, 3^:,. Leipzig, 208.
Mitchell, potter, 118. Liverpool, 108, 113, 237, 246, 248,
Modern pottery and porcelain, 37-51. 388, 430.
Moiron. painter, 370. Louvre, 6. 14, 15, 149, 197, 339.
Moitte, potter, 156. Miinich. 402, 458.
Molle, de, potter. 82. Nancy (Imperial Library). 264.
Mongenot, painter, 370. Naples, 6.
MoMBAERS. Philip, potter, 116. New York. 149.
Monier, potter, 193. Northampton, 388.
Montaignon, potter, 290. Norwich, 231.
MONTE LUPO. see Majolica. Nottingham, 388.
Moore, Bernard, potter, 50. Passelini, 194.
& Co., potters, 298. Practical Geology, of (late Jermyn
Moorish pottery, 9, 10. 11, 12, 290, 347 ;
Street), 55, 210, 234, 254.
see Hisp.^no-Moresco. Salford. 386, 405.
Moreau, gilders, V9- Sevres, 97, 245. 277, 301, 330, 458.
MORELLE, see Paris. Sigmaringen, 92.
MoRELLE, potter, 313. South Kensington, see Victoria and
Morin, painters, 370, 379. Albert.
MoRiOT, painter, 379. Stockholm, 328.
Morris, artist, 397, 398. Stoke-on-Trent (Wedgwood Insti-
MORTLAKE, pottery, 290. tute), 388.
MoRTLOCK & CO., dealers, 43, 44, 266, Svvansea, 245, 285, 307.
328. Taunton, 388. 434.
S04 INDEX
IIUSEUMS (continued) :— NIMES, pottery. 301.
Vatican, 6. Niquet, painter, 370.
Victoria and Albert, 5, 11, 12, 15, Noel, painter, 370.
16, 17, 18, 22, 23. 24, 25, 26, 27, Nonne. C. potter, 221, 222.
41, 46, 54. 55, 56, 68, 8s, 89, 91, NOTTINGHAM, pottery, 302-303, 27,
94, 97. lOI, 102, 103, 109, 113, 201.
117, 127, 128, 132, 137, 138, 139, Nonailher, Mme.. painter, 370.
142, 144, 148, 157, 159, 194, 19s, NOVE, see Bassano.
197, 200, 202, 211, 212. 213. 214, NowoTNY, A., potter, 82.
224, 226, 231, 237,
219, 248, 268, Nugent, potter, 107.
277, 279, 284, 295,
270, 297, 299, NUREMBERG, pottery and porcelain,
303. 306, 313, 315,
302, 316, 318, 303, 25.
325- 328, 330, 331,
319. 334, 335, NYMPHENBURG, porcelain, 304-305,
341. 343. 344. 348.
317. 350, 352, 38. 74-
387. 388. 394. 397.
354. 407. 409. NYON. porcelain, 305.
423, 424, 430, 431.
422, 435, 438,
440.
477-
Vienna, 415.
Weimar, 242. O.
Worcester 57. 441, 446.
Youigrave. 405. 0., n6, 117, 274, 307, 371.
Ziirich, 458. O.A., 274.
JMussiL, artist. 287. O.B., 98.
MuTEL, painter, 370. O.L., 292.
Myatt, J., potter, 195, 235. O.M.. 314.
OcHOGARiA, modeller, 117.
OIRON, pottery, 21, 22 ; see St. Por-
chaire.
N. OLD HALL (Hanley), pottery, 306.
Oldfield & Co., potters, 235.
A'., 75, 121, 122, 175, 222, 273, 298, 301, Olliver. potter, 86.
333. if'i- O'Neill, artist, 44S, 449.
N.B., 303. O'Neill. Dr., cited, 406.
N.I., 116. OPORTO, porcelain. 306.
N.L.H., 116. Oriental porcelain, 19,
27, 31. 32,
N.S., 178. 66, 253 ; imitations of, 63, 99, 100.
Nadin, Mr. W'alter. 155. 105, III, 120, 127, 217, 223, 280. 315,
NAMUR. 159; ses Ardennes. 355, 402, 413, 443 marks, imitations
;
Nankin porcelain (so-called), 141 ; see 70, 102, 105, 135, 248, 252, 453;
of,
Chinese. re-decorated, 66, 255.
NANTES, porcelain, 293. ORLEANS, pottery and porcelain, 307.
NANTGARW, porcelain, 293-295, 30, OuiNT, C, decorator, 379.
36. 266, 319, 396, 397. 398, 400. OVERTOOM, pottery, 84 see Amster- ;
NAPLES, 17, 79, 267 ; see Capo di dam.

Monte and Majolica. Owen, Hugh, cited, 109, 114. 115.
NAST, see Paris. Town & Emanuel, dealers,
Nast. potter, 313. 464.
Nathusias, potter, 82. Oxford, Rev. A. W., cited, 114-115.
NEALE, 295-296, 386, 421.
Neale & Co., potters, 195, 295, 296.
Neppel & Bennot, potters, 296.
Netherlands, 159.
NEUDACH, see Nymphemburg.
NEUHALDENSLEBEN, majolica, 296. P., I 12, 12
New Canton, 36, 99.
NEVERS, potterv, 296-298, 263.
NEWCASTLE-ON-TYNE, pottery, 298.
NEWHALL, Shelton. porcelain, 299.
Nicholson & Co., potters, 123.
NIDERVILLER, pottery and jiorcelain,
299-301, 264.
Niedermayer, potter, 304.
Nightingale, Mr. J. E., cited, 129, 132,
171, 250.
INDEX 505
P.M. p.. 381. Pennington, John, artist.
P.P., 285. 379. Seth, potter, 246, 247, 446 ; see
P.P., 381, 382. Liverpool.
P.S.. 381. Peringkr, potter. 196.
P.T., 370. lÊRRiN. Veuve, potter, 277.
P.V.B., 167. Perkottin, sculptor, 370.
P.V.D.S.. 168. PERSL\N, pottery, 315-318, 9, 24, 219,
P.2., 459- 409.
Pacetti, artist, 427. PESARO, pottery, 10, 17, 19, 79, 267,
Packing, directions for, 67-68. 271 ; see Majolica.
Padua, 267 see Majolica.
; PfeT^RiNCK, potter, 407.
Paillet, F., painter, 379. PETIT, see Fontainebleau.
Pajou, artist, 353, 370. Petit, painter, 370.
Palermo, 267 ; see Majolica. Jacob, potter, 40.
PALISSY ware, imitations of, 63, 245, Petuntse, explained, 470.
289 ; see Saintes. Pf.\lzer, potter, 89.
Palissy, Bernard, potter, 19-21, 23, Pfeiffer, painter, 370.
24, 206, 337-339. Phillipine, painter, 371, 379.
PALMER, see Neale & Co. Philips, potter, 195, 235, 249.
Palmer, H., potter, 195, 295, 296, 388. E., potter, 174.
Pardoe, Thomas, painter, 192, 294, 398. R., potter, 260.
Parant, potter, 355. & Bagster, potters, 296.
Parian, 44, 384 explained, 469.; Son, Sc Ne.\le, auction-rooms of,
PARIS, various malccrs, 307-315. 57-
Cliicanneau, 308. & Co., potters, 396.
Courtille, 309. Phcenician pottery, i.
Dagoty. 309. Photography, use of, 470.
Darte, 310. Pickman & Co., potters, 347.
Declc, 310. Pierre, painters, 371.
Ditil, see Angoulicme. Pigory, potter, 128.
Dubois, 310. Pigs, Susse.x, 118 tithe, 3S6.
;
Duo d'Orleans, see Pont aux Choux. PiLBUSY, artist, 287.

Feuillet, 311. Pilkington Tile & Pottery Co., 50.
Guy & Housel (Rue Ttiiron). 311. Pillivuyt & Co., potters, 39, 313 ; see
Honore, 311. Paris.
Lassia, 312. PINXTON, porcelain, 319-320, 155, 266,
Leboeuf, 312. 406.
Lefebvre, 312. PIRKENH.\MMER. porcelain, 320, 95.
L'Imperatrice, see Dagoty. Pirot-a (or Pirote), potter, 194.
MouUe, 313. PISA, 267, 17, 79 see Majolica.;
Nast, 313. Pithou, painters, 371.

Petit, see Fontaink.bleau. Place, Francis, potter, 27.
Pillivuyt, 313. Planch^, Andrew, potter, 170.
Pont aux Ctioux, 313. Plant, Benj.\min, potter, 236.
Porcelaine d'Artois, 314. Plateau, explained, 471.
Porcelaine de la Reine, see Lebckuf. Plautier, Boncoirant & Co., potters,
Potter, 314. 301.
Samson, 315. Peine, painter, 379.
Schoelcher, 315. PLYMOUTH, porcelain, 320-322, 30,
Parpette, painters, 370, 379. 46. 55, III, 113. 115, 442.
Pasquier, C. I. du, potter, 414. PococK, Dr., cited, no.
Passeri, cited, 10. POLAND, see Korzek.
Paste, explained, 469. Pollard, artist, 397, 39S.
" Pate sur p,\te," 41, 287 ; explained, Pont .•ku.x Choux, see P.\ris.
470. PoPOVE, A., potter, 290.
Patience, potter, 108. Porcelain, derivation of word, 29, 56 ;
Patin.4, explained, 470. imitations of, 140 introduction of,

;
Paul, potter, 209, 217. into Europe, 18, 19, 29; modern, 37 ;
PAVIA, see Majolica. varieties of, 30.

Pazaurek, Dr., cited, 96. Porchon, painter, 379.
Pearl ware, 237. PORTOBELLO, pottery, 322-323. 88.
P^lissier, p., potter, 241, 242. PORTUGUESE pottery, 41 see Cal-
;
Pellev6, potter, 193. DAS.

Peluche, artist, 379. Poter.\t, L., potter, 331.
5o6 INDEX
PoTSCHAPPEL. factory in,, 73-74, 187. Redgrave, potter, 260.
Potter, Charles, potter, 314. REGENSBURG, potterv and porcelain,
Christopher, potter, 127. 324-
Pottery, explained, 471. Regnier, painters, 380.
PoL'GAT, 245.
J.,
potter, 355.
PourLLOT, painter, 371. Rejou.x, painter, 380.
PouLAiNE, Dupr6, potter, 177. Renaissance, pottery and porcelain,
PouPART, A., painter, 380. 10-36.
PouYAT, potter. 309. Renard, painters, 380.
PRAGUE, pottery and porcelain, 323 Reparation, directions for, 66-67.
95- Restorations, 64.
Pratt, Felix, potter, 195. Reynard, potter, 86.
PREMIERES, pottery, 323. Rhead, Messrs., cited, 251, 386, 391, 405.
Preussler, artist, 186. F., artist, 287.
Provost, gilder, 371. RHEINSBERG, pottery. 324.
Prinxe, potter, 235. RHODIAN pottery, 325-326, 24, 317,
Prince of Wales china,
PRINTING — 314. 409 porcelain,
; 56.
Ricardo, Halsey, potter, 170.
Bat, explained, 439. Rich, W., potter, 205.
Transfer, 35, 125, 239, 298, 437. Richard, painters, 380.
Use of, explained,. 471. J. ET Cie., potters, 285, 286.
Protat, modeller, 287. Richards, artist, 287.
PoGH, William, potter, 157. RIDGWAY & CO., potters, 326-327,
PuLiNX, Henry, potter, 115. 296.
PusTELLi, F. A., artist, 263. RiEss, potter, 282.
Rimini, majolica, 267, 17.
Ring, potter, 109.
Q- Ringler, potter, 93, 199, 201, 202, 220,
263, 281, 304. 393-
e.A-., 167. RiocREux, M., cited, 3^8
Queen's ware (Wedgwood), 34, 44. 230. I. & D., artists," 380.
238, 246, 385, 422, 457. RisTORi, T. H., potter, 279.
pUENNOY, decorator, 380. RoBBiNS & Rand.ill. potters, 266.
QUIMPER, pottery, 323. Robert, painters, 381.
J. G., potter, 277.
Robinson, Sir Charles, cited, 4.
R. John, painter, 247.
& Fisher, auction-rooms of,
R., 86, 131, 1C8, 209, 220, 260, 284, 314, 57-
335. 380- Rocher, painter, 373.
R.B., 364. 369. Rochez, potter, 339.
R.C.. 273. ROCKINGH.\M, potterv and porcelain,
R.F., 122. 3^7. 328.
—
R g, 209. Roger, painter, 381.
R.H.. 454- Rogers. J. & C, potters, 249.
R.L.. 371. ROMAN pottery, 5-7 see Majolica.
R—
;
n, 324. RoMBRicii, artist, 206.

R.P., 260. RORSTR.\ND, pottery, 328-329, 393.
R.S., 112, 168. ROSCH, pottery, 222.
R.T.C.. 167. Rose & Co., potters, 125, 157, 223, 267,
Roses. 158, 166. 294.
Raeren, 159. 160; iee Cologne. RosLAiNG, P. A. DE, potter, 237.
Raffaele, 81. RossET, painter, 371.
Raffaelesque, see Decorations. RouBiLLAC, Louis Francois, sculptor,
Randall, artist. 65, 77, 266, 267. 130, 131. 133. 135-
Rathbone, potter, 323. KOUEN, pottery and porcelain, 329-
Mr. F., cited, 429. 332, 30, 277, 297, 334 ; imitations of.
RATISBON, sec Regknsburo. 40 ; tiles, 19.
RAUENSTEIN, jwrcdain, 324, 404. RoussEL, painters, 371, 381.
Raux, painter, 371. KUDOLDSTADT, porcelain, ^32. 420.
Ravenet, decorator, 437. Rue Thiron, see Paris.
R.WENNA, 17,267; sec Majolica. RusKiN pottery, 50.
Recum, von, potter, 210. Russinger, potter, 309.
Redecoration, 66. RYE, see Cadborough.
INDEX 507
s. SARREGUEMFNES, pottery and porce-
lain, 345.
S., 70, 125, 726, 158, 260, 273, 276, 305, SATSUMA, pottery, 226-227.
329. 333. 346, 369- Saunders, potter, 290.
S.A., 254, 332, 333. Savona, 207, 347 ; see Majolica.
S.C, 364. 365. Savy, potter, 278.
S.E., 168. SAXONY, Dresden.
see
S.F.Ii.. 320. Sazarac, Dksrocher et Fils, potters, 85.
S.H.. 173, 177, 371. SCEAUX I'ENTHlfcVRE, pottery and
S.I.B.. 433. porcelain, 345-346, 55.
S.L.. 116. Schaai-, C, potter, 4:8.
S.M., 163, 167. Schaper, Johan, potter, 214.
S.N.C., 158. SCHERZHEIM, pottery, 382, 346.
S.O.S., 126. Schilt, painters, 381.
S.P., 272, 346. SCHLAGGENWALD, porcelain, 346, 95.
S.P.Q.F., 271. Schliemann, Dr., excavations of, 5.
S.P.Q.R.. 271. Schneider, A., potter, 210.
S.5., 381. ScHOELCHER, potter. 315 see Paris. ;
S.H'., 381. Scîr.\dre, painter, 371.

5.M^.P., 245. ScHREiBER, Lady Charlotte, loiirnals
St., 329. of, 192.
5/. C„ 333, 334, 335. Schubert, artist, 206.
Sceptres, 95. Schwartz, J. von, potter, 303.
5ra(s, 76, 333, 441, 449, 452. Schwerdtuer, J. A., potter, 124.
Serpents, 323. SCHWERIN. pottery, 346.
Shields, 62, 73, 85, 86, 91, 167, 229, 303, Scott Bros., potters, 323.
304. 305. 322. 415. 416, 458. Seau (or ScEAUX), explained, 471.
Stars, 91, 126, 166, 178, i88> ?32, 364, Segange, M. Broc de, cited, 296, 297.
365. Seguin, potter, 418.
Stools. 175. SEPT FONTAINES, see Luxembourg.
Storks, 213. SEVILLE, pottery, 347, 13, 41.
Stms, 334, 367. SEVRES, porcelain, 347-382, 30. 32, 38,
Swords, see Daggers. 39, 41, 42, 43, 56, 61, 66, 87, 118, 121,
Swords crossed, 69, 70, 72, 73, 75, 76, 82, 243. 267, 306, 307, 308, 321, 334, 403.
94, 114, 125, 175, 188, 189, 190, 191, 416, 417 imitations of, 40, 64-65, 69,
;
199, 242, 257, 407, 420, 422, 442, 76-77, 132, 157, 177, 217, 230, 266,
453- 267, 287, 311, 332, 333, 407, 408.
Sadler, John, potter, 34. 247, 248, 437, Sewell, Donkin & Co.„ potters, 29S,
438, 44'i. 396.
Sadler & Green, potters, 428. Sgraffiato, see Decorations.
Saggar, explained, 471. Shaw, Dr., cited, 34. 265.
ST. AMAND-LES-EAUX, pottery and Shaw, potter, 246.
porcelain, 332, 407. Sheldon, Mrs. E., 215.
St. Anthony, potter, 298. Sheriff Hill pottery. 298.
St. Cenis, see Sinceny. Shonsui, Gorodayu, potter, 224.
ST. CLOUD, pottery and porcelain, 3^- Shore, Joseph, potter, 222, 223.
335. 30, 55. 137- 241- Sicilo-Arabian ware, 11, 12.
ST. PETERSBURG, pottery, 335-336. Sieffert, painter, 381.
ST. PORCHAIRE, pottery, 336-337, Siegburg, 159, 160.
21, 22, 92 imitations of, 6^, 289, 310.
; SIENA, 267," 270 see Majolica.
;
SAINTES, pottery, 337, 339. '19- SILESIA, porcelain. 75.

Sales, see Collections. Silicon china (Booth's), 50.
Salmazzo, G. M., potter, 90. Simard, painter, 381.
SALOPIAN ware, see Caughley and Simpson, Ralph, potter, 405.
Coalbrook Dale. William, potter, 25, 159, 340.
Salt, R. & C, potters, 390. SiMSON Bros., potters, 209.
SALT-GLAZE ware, 339-344. Sinsson, painters, 371, 381.
Samian ware, 6 explained, 471.
; Sioux, painter, 371.
Samson, potter, 70-72, 315 see Paris. ; SITZERODE, porcelain, see Kloster
SAN QUIRICO, majolica, 267. Veilsdorf.
Sandoz, sculptor, 381. Slip, explained, 472 ; see Toft.
Sans, T. & W., potters, 405. SLIP DECORATED WARE, see Toft
Sante Brucci, potter, 222. Ware.
Saracen tiles, 24. Smith, Major Murdoch, 9, 315.
5o8 INDEX
Soap rock, 35, no, 444. T.O.. 103, 104, 115.
Solon, M. Louis Mark, artist, 41, 42, T.R., 279, 408.
287, 3.S1, 405. Tablets, 198.
SoNNENSCHEiN, modeller, 458. Tie (Montaignon), 298.
SoQui, artist, 321. Torches, 309.
SoRGENTHAL, Baron de, potter, 415. Towers, see Castles and Beacons.
SoTHEBY, auction-rooms of, 57, 112, 48. Trees, 220, 364.
South Carolina, clay from, in. Trefoils, 211, 222, 243.
Southall, see Martin ware. Triangles, 373, 134, 135, 194, 229, 305.
SPAIN, see Hispano-Moresco. 365.
Sp.\nish pottery and porcelain, 10. Tridents, 134, 135, 272, 275, 400, 401.
Specimens, choice of. 60, 61, 476. Tabary, painter, 372.
Spelm.an, Mr. W. \V. R., cited, 254, 255, Taenich, painter, 228.
258, 259, 261. Taillandier, painter, 372.
Sperl, potter, 69. TALAVERA LA REYNA, pottery, 402.
Spink & Son, potters, 123. Talor, William, potter, 405.
SPODE, 383-386. Tandart, painter, 372.
Spode, Josiah, potter, ^6, 38, 286, 383, Tannowa, 95 see Bohemia.
;
431- Tardi. painter, 372.

Samuel, potter, 235. T.ÛN.AY, painter, 372.
Sprimont, Nicholas, potter, 129, 130, Taylor, George, potter, 405.
356. 443- HowsoN, potter, 50.
Spurs, explained, 472. Robert Minton, potter, 19^.
STAFFORDSHIRE, pottery, 386-392 ; 28S.
imitations of, 47 various, 25, 27, 45-
; Tebo, modeller, 102, 104, 113, 115.
46, 258, 265, 298. 322. TEINITZ, pottery, 402, 95.
Stebner, potter, 303. Terchi Bros., potters. 90.
Stegman, Mr., cited, 85. Terra-cotta, use of, 2.
Sten, potter, 276. Terre de Lorraine, 264.
Stenzel, potter, 414. TETTAU, 402, 404.
Stephens, William, potter, 114. Thebes, 2.
Stevenson, Sharp & Co. (Hancock), Theodore, gilder, 372.
173, 260. Thevenet, painters, 372.
Stif, J., potter, 235. Thieme, potter, 73, 191.
STOCKELSDORF, pottery, 392, 22S. Thoovt et LABOUCHiiRE, potters, 402.
STOCKHOLM, see. Rorstrand. Thorw.aldsen, sculptor, 41, 161.
Stoneware, explained, 472. THOUNE, pottery, 402.
STRALSUND, pottery. ^9S, 328. THURINGIA, porcelain, 403-404, 39,
STRASBOURG, porcelain, 393-395. 86, 209, 242, 324, 402, 420, 421.
263, 277, 32S. Thursfield, J., potter, 235.
STR.\TFORD LE BOW, see Bow. Tiles, ancient and modern. 472.
Strobel, potter, ^03. TILES :—
SUNDERLAND, pottery, 396, 201, 265, Alcazar, 41.
298. Alhambra, 41.
SUSSEX, see Rye. Bristol, 109.
Sutton, Uri.ah. potter, 433. Copeland, 385.
& Till, potters, 386. Moorish, 9, 11.
SWANSEA, porcelain, 396-401, 36, 119, Tin, use of, 2, 14, 19.
265, 293, 294, 319. Tinworth, George, modeller, 44, 234.
SwEBACH, painter, ^Si. TOFT, ware, 404-406, 27, 55, 456.
SWINTON, potterv, 327. Toft, C, modeller, 287, 428.
SWITZERLAND, pottery. 401. Thomas & Ralph, potters, 409,
SYRIAN ware, see Turkey. 405.
TOKIO, 225.
Tomlinson & Co., potters, 196.
T. ToNDiNo, explained, 472.
TORKSEY, pottery, 406-407.
T.. 7i, 103, 115, 22S, 333, 364, 382, 402. " Tortoiseshell " ware, 432.
T.B.. 335. TOUR DAIGUES, see La Tour.
T.D.. 310. TOURN.\Y, porcelain, 407-408, 40, 65,
T.F., 102, 103, 373. 87. 333. 410.
T.H.D., 310. Town & Emanuel, dealers, 464.
T.L.. 369. Trades Marks .\ct. 199.
T.N.. 123. Tracer, painters, 38 1, 382.
INDEX 509
TREVISO, porcelain, 408. VERONA, 267 see Majolica.
;
Tristan, painter, 382. Verviers, 59. I
Tron, Henri, ])otter, 334. Vieillard, painter, 372.

Troyon, painter, 382. VIENNA, porcelain, 414-416.
TUNSTALL, pottery, 409, 80. Vignot, painter, 382.
TURIN, pottery, 409, 17. ViLHiKUT, potter, 86.
TURKEY, pottery and porcelain, 409. ViLLARs, L. II. i)E LA Marre de. potter,
TURNER ware, 410. in-
Turner & Abbott, potters, 237. Villeroy & BocH, MM., 284.
& Co., potters, 386, 390. VINCENNES, pottery and porcelain',
John, potter, 36, 236, 299, 410. 416-419, 30, 87, 127, 34S, 351, 356,
Thomas, potter, 123, 124, 125. i9i. 411-
W., cited, 295, 399, 401. blue, see Decorations.
Tygs, explained, 473. Vincent, gilder, 372.
Tynes, Garrett, merchant, 159. VINOVO, porcelain, 419-420.
VISTA ALLEGRE, see Oporto.
VOLKSTEDT, porcelain, 420-42 1 208, ,
U. 210, 228, 229, 242, 332, 403, 404.

VOLPATO. GIOVANNI, 421.
U. & Cie., 345. VOYEZ, pottery, 421.
U.D., 107. Voyez, J., potter, 213, 386, 388.
Underglaze, explained, 473.
United States, 46.
Upchurch pottery, 7. W.
URBINO, pottery, 17, 18, 19, 41, 79,
267, 271 5ee Majolica.
; 73, 82. 94, 95, 168, iSS, 240, 260, 262,
II'.,
Ureino, Camillo da, potter, 32. 346, 36X, 3S2, 407, 422, 433, 452, 454.
Urns, funeral, 5, 7. W.B., 116.
Utzchneider & Co., potters, 345. W.D.. 116, 16S, 169.
W.H., 107.
W.K., 167.
V. W.R., 263.
v., 262, 413. W.S., 210.
Va, 413. W.V.D.B., 169.
V.A., 167, 213, 306. Wheels, 262, 281, 282, 283.
V.B.. 284, i7i. Whips, 219, 220.
V. &• B., 284. Windmills, 156.
V.D.. 372. Walker, Brown. Aldred & Rickman,
V.E.. 167. potters, 253.
Ven", 413, 414. Walker, Samuel (George), potter, 293.
V.F., 291. 294, 396, 406.
V.G., 382. Wall, Dr., potter, 36, 76, 435. 436, 442,
V.I.. 168. 444, 446.
V.P.. 277, 278. WALLENDORF, porcelain, 42 i, 422, S3,
V.R., 201. 404.
Vt, 367, 372. Walpole, Horace, cited, 27, 129.
VALENCIA, pottery, M, 41. Walter, painter, 382.
VALENCIENNES, pottery, 410-411. Walton, J., potter, 386, 388, 390.
Values and Prices, 474-484. Warburton, J. & P., potters, 265, 299.
Vand^;, painter, 372. Britton & Sons, potters, 239.
Vander Waert, potter, 87. Mrs., 427.
VASES :— Warland, potter, 205.
Alhambra, 12, 13, 31. Washing china, directions for, 67.
Cfeladon, 31, 137, 474. Watcombe Co., potters, 45.
Eventail, 61. Watts, potter, 232.
Foundling. 56, 132. WEDGWOOD ware, 422-430, 80, 123,
Vadcluse, potters, 89. 125, 195, 214, 248, 265, 295, 296, 299,
Vaunier, potter, 411. 341. 3S3. 385. 3S6, 388, 389, 421, 432 ;
Vautrin, painter, 327. imitations of, 80, 123, 125, 195, 214,
VAUX, porcelain, 412, 97. 221, 230, 236, 238, 239, 24"5, 249, 295,
\'ENICE, porcelain, 412-414, 33, 17S ;
298. 328, 398, 408, 410 ; basalt, in-
pottery, 267. vention of, 428 jasper ware, inven-
:
Verboeckhoven, sculptor, 411. tion of, 424 ;

Queen's ware, origin of
Vermonet, Jacques, potter, 96. name, 422-423 ; see Queen's.
510 INDEX
Wedgwood, Aaron, potter, 250. Wright, Mr. A., 215, 216.
JosiAH, potter, 422-430, 34, 38, artist, 287.
46, 80, 89, 105, III, 195, 196, 265, 421, J., potter, 405.
432- S., potter, 238.
Ralph, potter, 196. WROTHAM, pottery, 456-457, 27,
Thomas, potter, 196, 424. 404.
WEESP, see Amstel, Wylde, Mr. C. H., cited, 160, 196,
Wegely, W. G., potter, 93, 95, 422. 306.
Welby, John, potter, 402. Wyse, decorator, 287.
Werdinger, gilder, 382.
West Malling, see Jugs.
Wetherby & Crowther, potters, 99 X.
Wheel, potter's, 2.
Whieldon, Thomas, potter, 430-433, 34, X., 253, 284, 368, 370, 419.
89, 195, 239, 383, 386, 406, 422, 427. Xanto, Francesco, artist, 271.
White, William, 205. Xhrouet, artist, 354, 372.
Whitehead, C. C, potter, 214.
Willow pattern, 239, 383.
WiLLSoN Bros., dealers, 464.
WILSON, see Neale & Co.
Wilson, Robert & David, potters, 296,
386. Y., 364, 367, 373.
WINCANTON, pottery, 433-434. Yallop, Mr. J. U., cited, 260.
Wissman, potter, ji. YARMOUTH ware, 457.
WITTEBURG, 434. York pottery, 27.
Wolf, Joseph, potter, 435. Young, Weston, artist, 294, 397.
Wolfsohn, potter, 72, 190. Yung-Chang, imitations of, 63.
WOOD, see Staffordshire. Yvernel, painter, 372.
Wood. Ralph (father and son), Aaron,
Enoch, William, potters, 55, 251,
26i, 386, 387, 388, 389, 390, 39'2, 421, Z.
431- Z., 260, 458.
Wood & Caldwell, potters, 386, 389.391. Zais, Ernst, cited, 177.
WORCESTER, porcelain, 435-456, 35, ZELL, pottery, 457.
36, 38, 41, 48, 50, 100, loi, 114, 124, ZiESELER, potter, 220.
250, 252, 254, 255, 256, 257, 258, 260, ZsoLN.'iY, W., potter, 205.
293, 319, 321, 396; imitations of, 39, ZURICH, porcelain, 458.
47. 50, 69, 70, 71, 125, 256. ZWEIBRUCKEN, porcelain, 549.
THE END
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THE LIBRARY

Mrs. Harry Lenart

CONTAINING NEARLY TWO HUNDRED ILLUSTRATIONS OF

NEW EDITION, REVISED AND CONSIDERABLY AUGMENTED

HOW TO SELECT OLD

CHAFFERS' MARKS AND

Printed by BALLANTYNIi, HANSON &• Co.

At the B.illantyne Press, Edinburgh

PREFACE TO THE THIRD EDITION

N preparing Pottery and Porcelain for a

The chapter on " Hints and Cau-

many quarters, is enlarged, and should now be more

terest and service.

The illustrations have been reconsidered ; unsatisfactory

My sincere thanks are due to numerous correspondents

formation to be available for future editions.

In presenting this edition to the public I may perhaps

form was published in 1878 as my first literary effort; it

appeared as a small hand-book dealing only with European

press and public with considerable appreciation, possibly

edition, and at the publishers' suggestion my small Pottery,

Conscious of many shortcomings, I can at least assure

32 St. James's Street,

MEDIEVAL AND RENAISSANCE

PORCELAIN, ITS INTRODUCTION INTO EUROPE

— Redecorated China — Repairing Breakages — Washing and Packing

SOME COUNTERFEIT AND MISLEADING MARKS

A SHORT ACCOUNT OF THE DIFFERENT CERAMIC FACTORIES

Abruzzi Ware — Adams — Alcora — Amstel — Angouleme — Anspach — Ar-

NOTES AND EXPLANATIONS

Chelsea Porringer {coloured plate) Frontispiece

Italo-Greek \^ase .....

Hispano-Moresco Vase facing 10

The Alhambra Vase ........

Tazza of Sgraffiato, or Incised Ware, Fifteenth Century

Teapot of Elers Ware .....

German Stoneware, Sixteenth Century

Dish of Toft Ware

Knife-handle of Menecy Porcelain . 36

Figure of a Cat, Early Slip Decorated Ware. 78

Plaque of Alcora Faience ........

Pair of Chelsea Groups (Seasons) Modelled by

Chelsea "Bee" Milk-jug

Chinese Celadon Crackle Vase

Cannette of Siegburg Stoneware folloiving '5S

Harburg Jug 214

The Essex Jug .......

Leeds Ware Dish .......

Bowl of Liverpool Delft

Success to the African Trade "

Pair of Longton Hall Vases

Set of Five Longton Hall Vases facing 252

Lowestoft Coffee-pot ......

Coffee-pot of Lowestoft Service

A Toby "Fillpot" .......

Vase of Nevers Faience

Ewer of Persian Porcelain

Jardini&re of Rouen Faience

Saint Porchaire Candlestick

Coloured Salt-glaze Sauce-boat .... {coloured plate) facing 342

SivRES Vase, Green Ground .... 345

EcuELLE OF Venetian Porcelain ....

Barr Period ........